MUSIC  IN  THE 

PUBLIC 

SCHOOLS 


NEWTON 


GINN   AND 

COMPANY 


mo 

NL8  Newton  - 


Southern  Branch 
of  the 

University  of  California 

Los  Angeles 


Form  L  1 

10 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


JAN  3  1  1952 

dEC  3  i  13 

2  9  1955 


8 

JAN 


1953 


Form  L9-50jn-ll,'50  (2554)444 


MUSIC  IN  THE  PUBLIC  SCHOOLS 

A  MANUAL  OF  SUGGESTIONS 
FOR  TEACHERS 


BY 

E.  W.  NEWTON 

AUTHOR  OF  "INTRODUCTORY  SIGHT-SINGING  MELODIES' 


46072 

GINN  AND  COMPANY 

BOSTON     •    NEW    YORK     •    CHICAGO     •    LONDON 
ATLANTA     •     DALLAS     •    COLUMBUS     •    SAN    FRANCISCO 


COPYRIGHT,  1909 
BY  E.  W.  NEWTON 


ALL  RIGHTS  RESERVED 
918.9 


gfct  gtbemeum 

GINN  AND  COMPANY  •  PRO- 
PRIETORS •  BOSTON  •  U.S.A. 


rvrr 
N 


PKEFACE 


Music  in  the  public  schools  is  a  serious  factor  in  the  mental,  importance  of 

the  subject 

v;  physical,  and  emotional  development  of  the  child,  and  is  as  impor- 
^  tant  in  character  molding  as  any  other  subject  in  the  school  cur- 
riculum.    The  four  essentials  of  this  subject  are  conceptions  of  The  four 

,  .  .  .    .  .    ,  ,      .       .  ,  •      i    •    .  essentials 

good  music,  voice  training,  sight  singing,  and  musical  interpreta- 
tion, and  in  this  manual  they  are  developed  side  by  side  for  each 
of  the  eight  years  of  elementary  school  life.  This  development  is 

1 1  presented  in  the  form  of  weekly  outlines,  by  means  of  which  Definite 

X  results  commensurate  with  the  importance  and  dignity  of   the  outlines 

subject  may  be  more  easily  obtained.    These  outlines  are  brief, 

definite,  and  free  from  irrelevant  matter,  and  while  they  may  be 

used  advantageously  with  any  series  of  music  books,  they  are 

j  designed  to  be  used  with  the  New  Educational  Music  Course. 

\  No  special  attention  has  been  paid  to  written  work  in  music,  as 

^  it  is  more  or  less  beyond  the  scope  of  this  book. 

The  New  Educational  Music  Readers  furnish  ideal  material  for  The  New 

Educational 

music  education  in  the  public  schools,  and  are  adapted  for  study,  Music  course 
page  after  page,  in  consecutive  order. 

Teachers  who  find  it  advisable  or  desirable  to  vary  the  consecu- 
tive order  of  presentation,  to  give  special  attention  to  one  problem 
rather  than  another,  or  to  carry  on  several  lines  of  study  simul- 
taneously, will  find  that  the  grouping  of  the  material  in  these 
readers  makes  such  adjustment  an  easy  matter. 

While  all  good  methods  of  teaching  have  the  same  underlying  Adaptation  of 

J     &  this  method 
principles,  yet  they  may  differ  in    detail.    This  manual   simply  to  any  school 

J  .  r  J    environment 

presents  one  method,  with  occasional  alternatives,  which  has 
proved  eminently  successful  in  teaching  the  New  Educational 
Music  Course  in  various  public  schools.  It  is  based  upon  the 
fundamentals  of  music  education,  which  are  presented  in  the 
"Teachers'  Edition  for  Elementary  Grades,"  under  the  head  of 


iv  MUSIC  IN  THE  PUBLIC  SCHOOLS 

"Vocal  Music  in  the  Elementary  Schools."  That  it  may  be  a 
source  of  the  greatest  helpfulness  to  the  teacher  this  method  is 
offered  in  the  spirit  of  suggestion  only.  The  resourceful  teacher 
will  curtail,  amplify,  if  necessary  omit,  or  otherwise  change  any 
feature  as  circumstances  may  require.  Yet  as  a  whole  it  will  be 
found  a  satisfactory  working  basis  for  genuinely  successful  results. 
Acknowiedg-  The  author  wishes  to  acknowledge  his  indebtedness  to  Mr. 
Ealph  L.  Baldwin,  Music  Supervisor  in  the  Public  Schools,  Hart- 
ford, Connecticut,  to  the  late  Mr.  W.  C.  Hoff,  Music  Director  for 
fourteen  years  in  the  Public  Schools,  Yonkers,  New  York,  to 
other  prominent  musicians,  music  directors,  supervisors  and  teach- 
ers of  music,  besides  school  superintendents,  principals,  and  grade 
teachers,  —  all  of  whom  have  assisted  materially  in  the  prepara- 
tion of  this  work. 


CONTENTS 

PAGB 

FIRST  YEAR— SYNOPSIS 1 

FIRST-YEAR    PLAN    FOR    THIRTY-SIX   WEEKS'   WORK          ....  3 

FIRST-YEAR    SONG    PROGRAMMES 40 

SECOND  YEAR— SYNOPSIS 44 

SECOND-YEAR    PLAN    FOR    THIRTY-SIX   WEEKS'   WORK     ....  46 

SECOND-YEAR    SONJJ-PROGRAMMES 66 

THIRD  YEAR— SYNOPSIS 69 

THIRD-YEAR    PLAN    FOR    THIRTY-SIX    WEEKS'    WORK        ....  71 

THIRD-YEAR    SONG    PROGRAMMES           89 

FOURTH  Y\AR— SYNOPSIS 92 

FOURTH-YEAR  PLAN  FOR  THIRTY-SIX  WEEKS'  WORK       ...  94 

FOURTH-YFAR  SONG  PROGRAMMES 107 

FIFTH  YEAR  — SYNOPSIS 110 

FIFTH-YEAR    PLAN    FOR    THIRTY-SIX   WEEKS'   WORK         ....  112 

FIFTHrYEAR    SONG    PROGRAMMES           126 

SIXTH  YEAR  — SYNOPSIS 129 

SIXTH-YEAR^  PLAN    FOR    THIRTY-SIX    WEEKS*    WORK         ....  131 

8IXTH-/EAR    SONG    PROGRAMMES    .  142 


SEVENTH  YEAR  — SYNOPSIS 145 

SEVENTH-YEAR  PLAN  FOR  THIRTY-SIX  WEEKS'  WORK      .     .     .  147 

SEVENTH-YEAR  SONG  PROGRAMMES        159 

EIGHTH  YEAR  — SYNOPSIS       162 

GENERAL    SUGGESTIONS 164 

EIGHTH-YEAR    SONG    PROGRAMMES 165 

SUMMARY  OF  MELODIC  INTERVALS  OR  TUNE  IN  MUSIC  172 

MELODIC    PRESENTATION    OF    INTERVALS    BY    SCALE    NAMES          .  174 

SCALE    BUILDING    AND    RESULTING    SIGNATURES 178 

V 


vi  MUSIC  IN  THE  PUBLIC  SCHOOLS 

PAGE 
SUMMARY  OF  RHYTHMIC  TYPES,  FIGURES,  AND  GROUP 

BEATS,  OR  TIME  IN  MUSIC 182 

MONOTONE  PRESENTATION  OF  THE  RHYTHMIC  TYPES,  FIGURES, 

AND  GROUP  BEATS 186 

SCALE  PRESENTATION  OF  RHYTHMIC  TYPES,  FIGURES,  AND 

GROUP  BEATS  IN  COMBINATION 189 

GLOSSARY— TERMS  OF  NOTATION 199 

TERMS    AND    SIGNS   OF    EXPRESSION 205 

NOTES  .  207 


MUSIC  IN  THE  PUBLIC  SCHOOLS 

FIRST  YEAR 


SYNOPSIS 
Introduction 

Tones  and  phrases  taught  by  means  of  imitation,  1. 
Treatment  of  monotones,  2.    Partial  monotones,  8. 
Complete  monotones,  4. 

Rote  Singing 

How  to  teach  a  rote  song,  5,  6.  Rote  songs,  5-165.  See  alsoNthe 
"Teachers'  Edition  for  Elementary  Grades,"  pages  1-37. 

Voice  Training 

Breathing  Exercises  I,  7  ;  IT,  ,61  ;  III,  129. 
Introductory  vowel  sounds,  oo.  8  :  5,  25  ;  a.  29  ;  e.  96. 
Open  throat,  65.    Tone  direction,  104. 

Vocalization  of  songs,  exercise  melodies,  and  voice  drills. 

t 
Preparation  for  Sight  Singing 

Tune.  Scale,  34.  Syllables  and  scale  names,  36.  Oral  and  staff  dicta- 
tion in  melodic  progression  of  the  inactive  and  active  scale  tones,  and  of 
five  very  frequent  intervals,  5-8,  5-3,  1-3,  2-5,  2-7,  all  in  seven  different 
pitches  and  staff  representations,  each  interval  introduced  in  each  pitch 
and  staff  representation  by  local  preparation,  35-68. 

Staff  reading,  covering  the  same  ground  as  oral  and  staff  dictation, 
75-103. 

Time.  The  beat,  beat  accent,  108.    Type  One,  109. 

Rhythmic  dictation,  111. 

Double  type,  119.    The  measure,  125. 

Notation.  The  staff,  72.  The  bar  and  the  G  clef,  78.  The  check  mark, 
74.  The  double  bar,  76.  The  leger  line,  76,  and  signs  indicated  above  in 
Tune  and  Time. 

NOTE.  The  heavy-faced  figures  refer  to  the  section  numbers  beginning  on 
page  3. 

1 


2  MUSIC  IN  THE  PUBLIC   SCHOOLS 

Sight  Singing 

Employing  conjointly  the  elements  of  Tune,  Time,  and  Notation,  which 
are  developed  separately  in  "Preparation  for  Sight  Singing." 

Musical  Interpretation 

All  material  in  this  year's  work  musically  interpreted  by  means  of 
imitation  and  suggestion,  10  and  following  sections. 

Musical  and  Poetic  Conceptions 

Musical  and  poetic  conceptions  are  unconsciously  acquired  by  th~  use  of 
simple  songs,  voice  drills,  and  exercise  melodies  in  which  there  re  the 
essentials  of  good  melody,  —  namely,  coherency,  unity  of  design  a  com- 
plete melodic  sentence,  variety  in  tune,  rhythm,  and  suggested  harmony, 
purity  in  progression,  completeness  in  the  suggestion  of  its  harmony  so 
that  piano  accompaniment  is  not  necessary,  and  musical  content ;  also  by 
the  use  of  simple  songs  in  which  there  are  the  essentials  of  good  child-song 
poetry,  —  namely,  subject-matter  interesting  and  appropriate  to  childhood, 
lines  characterized  by  poetic  feeling,  euphony  in  the  flow  of  syllables,  a 
uniform  number  of  syllables  and  places  of  accent  in  all  stanzas  of  a  strophe 
song,  a  mood  and  spirit  kindred  with  the  music,  and  coincidence  with  the 
music  in  accent,  phrasing,  and  climax.  A  musical  representation  of  twenty 
composers  is  introduced,  the  more  important  of  whom  are  Frederic  Field 
Bullard,  Myles  B.  Foster,  W.  W.  Gilchrist,  Cornelius  Gurlitt,  Dr.  J. 
Mainzer,  Schubert,  Schumann,  and  W.  Taubert,  and  twelve  poets  in  song, 
the  more  important  of  whom  are  Alice  E.  Allen,  M.  L.  Baum,  George 
Cooper,  Emily  Huntington  Miller,  and  Celia  Standish. 

The  different  kinds  of  song  found  in  this  and  the  following  grades 
are  songs  of  nature,  devotional  and  ethical  songs,  patriotic,  flag,  and  hero 
songs,  marching  and  action  songs,  waltz  songs,  humorous  and  facetious 
songs,  songs  of  work  and  play,  evening  and  night  songs,  occasional  songs, 
songs  of  the  seasons,  songs  of  poetic  fancy,  narrative  and  descriptive  songs, 
and  mother  and  home  songs. 

Suggested  song  programmes,  174-178. 

Material 

The  only  books  needed  for  this  grade  are  for  the  teachers'  use.  They 
comprise  "  Music  in  the  Public  Schools  "  ;  the  "  Teachers'  Edition  for 
Elementary  Grades,"  in  which  are  found  for  this  year's  work  twenty- 
nine  voice  drills  and  twenty-nine  rote  songs  ;  and  the  "  Introductory 
Sight-Singing  Melodies,"  in  which  are  found  seventy-two  melodies  to 
be  placed  on  the  blackboard  for  the  beginning  of  sight  singing. 


FIKST  YEAR 


PLAN  FOE  THIRTY-SIX  WEEKS'  WORK 


FIRST  WEEK 


ni 


1.  Introduction.  The  teacher  will  first  ascertain  which  members 
of  the  class  entering  the  first  grade  can  imitate  correctly  what  is 
sung  to  them.  To  do  this  she  will  proceed  as  follows : 

On  the  pitch  of  a l  hum  a  long  tone.    Ask  the  class  to  imitate  it.  Tones  and 
On  the  pitch  of  6  hum  a  long  tone.    Ask  the  class  to  imitate  it.  taught  by 

imitation 

Repeat  with  the  pitch  of  b,  then  of  a. 

With  the  syllable  loo  sing  softly  the  following  phrase. 


Ask  the  class  to  imitate  it. 

Sing  this  phrase  softly  with  the  words,  K  Come,  now,  let  us  sing," 
and  require  the  class  to  imitate  it.  By  individual  trials  ascertain 
which  ones-  imitate  correctly. 

2.  A  large  proportion  of  the  class  will  probably  sing  the  above  Treatment  of 
phrase  correctly.    Those  who  do  not  are  called  monotones.   As  a 
rule,'  monotones  sing  incorrectly  because  they  hear  incorrectly. 
They  lack  acuteness  of  hearing  because  they  have  never  learned 
to  listen  attentively. 

1  The  pitch  of  once-marked  a  (a)  on  the  staff  is 


The  pitches  from  c  to  f  on  the  staff  are 


^ 


£ 


g         a 
3 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


Individual 
work 


Partial  mono- 
tones 


Complete 
monotones 


By  individual  trials  discover  which  members  of  the  class  imi- 
tate correctly  and  which  are  monotones.  Call  the  former  the 
"  singing  section  "  and  the  latter  the  "  listening  section." 

3.  Ask  the  "listening  section"  to  listen  carefully  while  the 
"singing  section"  sing  the  above  phrase  several  times.  Then  ask 
individual  members  of  the  "  listening  section  "  to  try  it,  with  the 
"  singing  section  "  and  alone.  Eepeat  the  trial  with  another  phrase 
such  as 


Loo 


and  in  turn  with  others  such  as 


loo 


-gj- 


Loo      loo        loo 


Loo     loo       loo 


Loo      loo      loo 


loo      loo       loo 


In  this  and  succeeding  lessons  continue  the  plan  of  requiring 
each  of  the  "  listening  section  "  to  listen  carefully  and  to  make 
attempts  at  correct  imitation  in  concert  with  the  "  singing  section  " 
and  alone.  As  fast  as  the  children  become  accurate  in  their  imi- 
tation allow  them  to  join  the  "  singing  section." 

After  several  lessons  the  teacher  will  discover  that  many  of  the 
monotones  are  rapidly  gaining  accuracy  of  pitch,  while  a  few  still 
cling  to  the  "  growly "  tones.  For  more  specific  treatment  the 
teacher  will  bear  in  mind  that  the  "  listening  section  "  is  made  up 
of  two  divisions :  partial  monotones,  who  sing  the  general  con- 
tour of  a  melody  but  not  in  tune ;  and  complete  monotones,  who 
sing  on  one  tone,  or  on  one  tone  with  slight  variations.  By  far 
the  greater  number  of  monotones  are  "  partial "  and  yield  readily 
to  the  treatment  suggested  above.  Complete  monotones  require 
much  more  time  and  patience  in  their  treatment. 

4.  Ascertain  by  individual  trial  in  the  following  manner  which 
ones  of  the  "  listening  section  "  are  complete  monotones. 


FIRST  YEAR  5 

On  the  pitch  of  g  hum  a  long  tone,  then  another  on  the  pitch 
of  <L  Ask  each  monotone  which  tone  is  higher  in  pitch.  Grad- 
ually decrease  the  interval  hummed  to  g  I.  Those  children  who 
cannot  tell  which  tones  of  these  intervals'  are  the  higher  in  pitch 
may  be  classed  as  complete  monotones.  Proceed  with  each  of  these 
monotones  individually  as  follows : 

Begin  by  humming  or  singing  some  interval  the  tones  of  which 
are  so  far  apart  in  pitch  that  the  pupil  can  tell  which  is  the  higher ; 
then  gradually  lessen  the  interval.  In  this  way  continue  slowly 
until  he  can  distinguish  the  pitches  in  smaller  intervals,  and  finally 
in  intervals  of  a  second,  such  as  g  a.  Meanwhile  urge  him  to  try 
imitating  tones  or  melodic  phrases  not  exceeding  the  pitches  of 
a  and  5.  Let  the  "singing  section,"  or  individual  members  of  it, 
furnish  models  for  imitation. 

It  may  happen  that  a  child  tries  in  vain  to  imitate  correctly  a 
certain  pitch  or  melodic  phrase.  In  such  a  case  let  him  sing  any 
pitch,  then  ask  the  "  singing  section  "  to  sing  the  same  pitch  in 
unison  with  him.  Tell  him  that  for  the  first  time  he  is  singing 
correctly  with  the  "singing  section."  From  this  pitch  let  the 
"  singing  section  "  sing  a  melodic  phrase,  as 


Loo     loo       loo 


and  require  the  monotone  to  sing  it.  Continue  thus  until  he  can 
imitate  correctly  any  melodic  phrase  within  the  compass  of 
a  and  e. 

If  these  suggestions  are  carefully  followed,  it  will  be  found  that 
the  "  listening  section "  will  gradually  diminish  in  number  and 
finally  be  merged  in  the  "singing  section."  The  length  of  time 
required  for  this  varies  with  different  classes,  —  from  six  weeks 
to  six  months,  and  sometimes  longer.  During  this  time  give  con- 
stant attention  to  the  individual  members  of  the  "  listening  section  " 
until  their  defects  disappear. 

5.  Teach  by  means  of  imitation  the  Rote  Song  I,  "  The  Shower,"  HOW  to  teach 
page  1,  "  Teachers'  Edition  for  Elementary  Grades,"  in  the  follow- 
ing manner. 


6  MUSIC   IN  THE  PUBLIC   SCHOOLS 

Eead  the  poem  to  the  children.  Interest  them  in  the  subject- 
matter  of  the  poem.  Sing  the  whole  song  to  them,  so  that  they 
may  get  its  effect  as  music  language. 

Sing  to  them  the  first  stanza  in  separate  phrases 1  with  a  slight 
pause  following  each  phrase.  Eepresent  these  phrases  on  the  black- 
board by  broad  phrase  marks,  thus :  x- — ^  x- — -v.  ^ — -x  ^ — ^.. 

Sing  each  phrase  separately,  at  the  same  time  pointing  to  its 
phrase  mark,  until  the  children  can  imitate  it  correctly.  Combine 
the  phrases  till  the  entire  song  is  memorized.  In  this  process 
advance  quickly  from  one  step  to  another,  but  do  not  hurry  the 
children  in  memorizing.  Be  deliberate  and  explicit  in  giving 
directions.  When  starting  the  class  to  sing  together  it  is  well  to 
use  uniformly  a  signal  word  of  command  such  as  "  sing." 

6.  Many  have  also  used  successfully  the  following  method  of 
teaching  a  rote  song. 

First,  recite  the  poem  to  the  children  and  explain  it  if  necessary. 
Then  sing  the  song  with  the  appropriate  feeling,  tempo,  and 
dynamics.  Repeat  the  song.  Next  tell  the  class  that  all  who  can, 
may  join  with  the  teacher  in  the  singing.  Sing  the  song  with  the 
children  until  they  are  able  to  repeat  it  alone,  gradually  singing 
less  and  less  as  they  master  the  song,  until  finally  it  is  sung 
without  any  help.  It  is  important  that  the  teacher  should  not 
sing  with  the  children  longer  than  is  necessary. 
l/*l>  Voice  Training.2  Teach  Breathing  Exercise  1 3  as  follows : 
Direct  the  children  to  stand  erect,  their  heels  together,  hands  on 
hips,  with  fingers  front.  With  closed  mouth  inhale  slowly,  silently, 
and  evenly,  while  four  slow  beats  (metronome  60,  or  at  the  rate 
of  sixty  beats  per  minute)  are  counted.  When  a  full  breath  is 
properly  taken,  the  chest,  ribs,  and  abdomen  will  be  distended. 
The  shoulders  must  not  be  raised. 

Retain  the  breath  without  allowing  the  slightest  escape,  while 
two  slow  beats  are  counted  ; '  then  exhale  through  the  nostrils  very 
gradually  and  evenly,  while  four  slow  beats  are  counted. 

1  The  music  set  to  each  line  of  the  poem  is  usually  a  phrase. 

2  "The  Training  of  Children's  Voices,"  by  T.  Maskell  Hardy,  is  an  excellent 
book  for  every  teacher. 

8  The  value  of  breathing  exercises  is  fully  appreciated  by  skillful  music 
teachers. 


FIRST  YEAR  7 

During  all  breathing  exercises  let  the  room  be  thoroughly 
ventilated. 

8.  Ask  the  class  to  pronounce  the  word  "  food,"  then  the  vowel  introductory 

,  —          i  ,1          -i   u      £  —  i        •        —  vowel  sound 

sound  oo,  and  on  the  pitch  ot  g  to  sing  oo.  55 

9.  Eequire  the  practice  of  Voice  Drill  I,  page  1,  "Teachers' 
Edition  for  Elementary  Grades,"  in  the  following  manner :  sing  the 
first  phrase,  let  the  class  imitate  it ;  then  sing  the  second  phrase, 
let  the  class  imitate  it,  and  so  continue  with  the  entire  drill. 

10.  Musical  Interpretation.    Require  the  children  to  sing  softly  By  imitation 
the  melody  of  the  rote  song,  "  The  Shower,"  using  the  syllable  tfon8u< 

loo  for  each  tone.  Discuss  with  the  children  the  meaning  of  the 
poem,  and  through  it  impart  the  kindred  spirit  of  the  music. 
This  is  the  basis  of  interpretation  at  this  stage,  and  will  greatly 
assist  the  children  in  rendering  the  song  with  the  appropriate 
tempo,  dynamics,  and  feeling.  Children  are  inclined  to  sing  too 
slowly.  Keep  them  up  to  the  tempo.  Correct  obvious  faults  of 
tone  production  and  pronunciation  as  they  occur.  Insist  at  all 
times  on  a  clear,  distinct  enunciation  of  the  words.  Never  allow 
shouting  or  forcing  of  the  registers  (see  "  Teachers'  Edition  for 
Elementary  Grades,"  page  xi).  Insist  on  a  soft  tone.  Give  as  much 
time  as  possible  to  individual  work,  encouraging  each  child  to  sing  • 
alone.  Only  when  some  proficiency  in  musical  interpretation  has 
been  attained  should  piano  accompaniments  be  used. 

SECOND  WEEK 

11.  While  each  weekly  lesson  is  here  given  under  separate 
subject  headings,  "  Rote   Singing,"   "  Voice   Training,"  etc.,  it  is 
expected  that  as  the  lessons  progress,  these  separate  subjects  will 
be  more  or  less  blended  in  teaching. 

12.  Rote  Singing.    Give  a  review  of  Rote  Song  I.    Teach,  as 
explained  in  §§5,  6,  the  Rote  Songs  II,  "  Stars  and  Flowers,"  and 
III,  "  Indoor  Play,"  pages  2  and  3,  "  Teachers'  Edition  for  Elemen- 
tary Grades."    Continue  the  individual  work  with  the  "listening 
section." 

NOTE.  Those  teachers  who  do  not  feel  the  need  of  so  much  rote  singing 
as  is  here  suggested  may  omit  songs  here  and  there  without  disturbing 
seriously  the  logical  sequence  of  the  course. 


8  MUSIC  IN  THE  PUBLIC   SCHOOLS 

13.  Voice  Training.    Let  the  class  practice  Breathing  Exercise  I, 
as  given  in  §  7.  As  explained  in  §  9,  let  the  class  sing  Voice  Drills  II 
and  III,  pages  2  and  3,  "  Teachers'  Edition  for  Elementary  Grades." 

14.  Musical  Interpretation.    By  means  of  imitation  and  sugges- 
tion, §  10,  teach  the  musical  interpretation  of  "  Stars  and  Flowers  " 
and  "  Indoor  Play."    Eequire  the  children  to  sing  softly.    If  from 
lack  of  time  it  is  found  necessary  to  curtail  the  amount  of  work 
here  laid  out,  teach  only  the  first  stanza  of  each  rote  song. 

THIRD  WEEK 

15.  Rote  Singing.    Give  a  review  of  any  preceding  rote  song. 
Teach,  as  explained  in  §§5,  6,  Eote  Song  IV,  "  Lady  Goldenrod," 
and  Eote  Song  V,  "  Little  Gipsy  Dandelion."    Continue  the  indi- 
vidual work  with  the  "  listening  section." 

16.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
I,  as  given  in  §  7.    As  explained  in  §  9,  let  the  class  sing  Voice 
Drills  IV  and  V. 

17.  Musical  Interpretation.  By  means  of  imitation  and  sugges- 
tion, §10,  teach  the  musical  interpretation  of  "Lady  Goldenrod" 
and  "  Little  Gipsy  Dandelion."  Eequire  the  children  to  sing  softly. 

FOURTH  WEEK 

/ 

18.  Voice  Training.    Introduce  each  music  lesson  with  a  breath- 
ing exercise.    Let  the  class  practice  Breathing  Exercise  I.    Let  the 
class  sing  Voice  Drills  VI  and  VII. 

19.  Rote  Singing.    Give  a  review  of  any  preceding  rote  song. 
Teach  Eote  Songs  VI,  "  A  Disappointment,"  and  VII,  "  Song  Story 
—  A  Party."    Continue  the  individual  work  with  the  "  listening 
section." 

20.  Musical  Interpretation.   By  means  of  .suggestion  and  imi- 
tation teach  the  musical  interpretation  of  "A  Disappointment" 
and  "  Song  Story  —  A  Party."    Eequire  the  children  to  sing  softly 
and  up  to  the  tempo. 

FIFTH  WEEK 

21.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
I  and  sing  Voice  Drills  VIII  and  IX. 


FIEST  YEAR  9 

22.  Rote  Singing.    Give  a  review  of  any  preceding  rote  song. 
Teach  Eote  Songs  VIII,  "  That 's  What  I  'd  Do,"  and  IX,  "  Boat- 
ing."   Continue  the  individual  work  with  the  "  listening  section." 

23.  Musical  Interpretation.    By  means  of  imitation  and  sugges- 
tion teach  the  musical  interpretation  of  "  That 's  What  I  'd  Do " 
and  M  Boating."   Eequire  the  children  to  sing  softly  and  up  to  the 
tempo. 

SIXTH  WEEK 

24.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
I  and  sing  Voice  Drills  X  and  XI. 

25.  Ask  the  class  to  pronounce  the  word  "go,"  then  the  vowel  introductory 

,,,.,._._  .        vowel  sound  o 

sound  6,  and  on  the  pitch  ot  g  to  sing  oo  —  5 ;  then  let  them  sing 
Voice  Drill  XII. 

26.  Rote  Singing.    Give  a  review  of  any  preceding  rote  song. 
Teach  Eote  Songs  X,  "  Swinging,"  and  XI,  "  Nature's  Good-Night." 
Continue  the  individual  work  with  the  "  listening  section." 

27.  Musical  Interpretation.    By  means  of  imitation  and  sugges- 
tion teach  the  musical  interpretation  of  "  Swinging  "  and  "  Nature's 
Good-Night."    Eequire  the  children  to  sing  softly  and  up  to  the 
tempo. 

SEVENTH  WEEK 

28.  Voice  Training.    Let  the  class  practice  Breathing  Exercise  I 
and  sing  Voice  Drills  XIII  and  XIV. 

29.  Ask  the  class  to  pronounce  the  word  "father,"  then  the  introductory 

_  ••11       vowel  sound  S 

vowel  sound  a,  and  on  the  pitch  of  g  to  sing  oo  —  6  —  a ;  then  let 
them  sing  Voice  Drills  XV  and  XVI. 

30.  Rote  Singing.    Give  a  review  of  any  preceding  rote  song. 
Teach  Eote  Songs  XII,  "  Song  Story  —  Brownies'  Umbrellas,"  and 
XIII,  "The  Dream  Man."    Eote  Song  XIV,  "Indian  Summer," 
may  be  substituted,  added,  or  omitted.    Continue  the  individual 
work  with  the  "  listening  section." 

31.  Musical  Interpretation.    By  means  of  suggestion  and  imi- 
tation teach  the  musical  interpretation  of  "  Song  Story  —  Brownies' 
Umbrellas,"  "  The  Dream  Man,"  and  "  Indian  Summer."    Eequire 
the  children  to  sing  softly  and  up  to  the  tempo. 


10  MUSIC  IN  THE  PUBLIC   SCHOOLS 

EIGHTH  WEEK 

32.  Voice  Training.   Let  the  class  practice  Breathing  Exercise  I. 

33.  Rote    Singing.    Teach    the    rote    song    "  See-Saw "    entire. 
Continue  the  individual  work  with  the  "listening  section." 

34.  Preparation  for  Sight  Singing.    Teach  the  scale  as  follows : 
Ask  the  class  to  repeat  the  last  two  phrases  of  the  rote  song 
"  See-Saw,"  that  begin  do,  ti,  la,  etc.    Inform  them  that  they  have 
sung  the.  scale  downward  and  upward. 

Eequire  the  class  to  sing  the  scale  downward  and  upward  in 

slow  tempo  and  with  equal  emphasis  on  all  tones. 

Otai  dictation       35.  Begin  oral  dictation  as  follows  :  On  the  pitch  of  d  sing  the 

scale  upward  and  ask  the  class  to  use  the  speaking  voice  and  count 

each  tone,  thus : 

Teacher  sings  do,  class  counts  "  1 "  ;  teacher  sings  re,  class  counts 
"  2  " ;  teacher  sings  mi,  class  counts  "  3  " ;  teacher  sings  fa,  class 
counts  "  4  " ;  teacher  sings  sol,  class  counts  "  5  "  ;  teacher  sings  la, 
class  counts  "  6  "  ;  teacher  sings  ti,  class  counts  "  7  " ;  teacher  sings 
do,  class  counts  "8." 

Now,  instead  of  singing  each  tone  and  counting  it  afterwards, 
let  the  class  count  each  tone  first  and  the  teacher  sing  it  afterwards, 
as  follows : 

Class  counts  "  1,"  teacher  sings  do;  class  counts  "2,"  teacher 
sings  re,  and  so  on  until  the  scale  upward  is  completed. 

Now,  let  the  teacher  count  and  the  class  sing  softly  as  follows : 
Teacher  counts  "  1,"  class  sings  do;  teacher  counts  "  2,"  class  sings 
re,  and  so  on  until  the  scale  upward  is  completed. 

Let  the  teacher  now  count  or  orally  dictate  "  8,"  class  sings  do; 
teacher  dictates  "  7,"  class  sings  ti ;  teacher  dictates  "  6,"  class  sings 
la,  and  so  on  downward  until  the  scale  is  completed.  This  process 
is  called  "  oral  dictation." 

syllables  and  36.  Inform  the  class  that  the  singing  names  of  tones  such  as 
do,  ti,  la,  etc.,  are  "syllables,"  and  that  the  talking  names  of 
tones,  such  as  "  8,  7,  6,"  etc.,  are  "  scale  names." 

37.  Give  the  pitch  d  and  dictate  orally  the  following,  one  scale 
name  at  a  time,  while  the  children  respond  by  singing  the  corre- 
sponding syllable  and  correct  tone : 


FIRST  YEAR  11 

8,  7,  6,5,4,3,  2,  1 
1,  2,  3,  4,  5,  6,  7,  8 

Dictate  the  same  to  each  child  in  the  class  and  record  the 
number  who  can  sing  alone  the  scale  correctly  from  oral  dictation. 
Insist  that  the  lower  tones  of  the  scale  ascending  be  sung  very 
softly. 

38.  Musical  Interpretation.    By  imitation  and  suggestion  teach 
the  musical  interpretation  of  "  See-Saw."    Require  the  children  to 
sing"  softly  and  up  to  the  tempo. 

NINTH  WEEK 

39.  Voice  Training.   Let  the  class  practice  Breathing  Exercise  I. 
Give  a  review  of  Voice  Drill  XVI. 

40.  Rote  Singing  and  Musical  Interpretation.   Give  a  review  of 
any  preceding  rote  song.    Eequire  the  children  to  sing  softly  and 
up  to  the  tempo.   Continue  the  individual  work  with  the  "  listening 
section." 

41.  Preparation  for  Sight  Singing.  Give  the  pitch  of  e;  dictate 
orally  8,  7,  6,  5,  4,  3,  2,  1,  one  scale  name  at  a  time,  while  the  class 
respond  with  the  corresponding  syllable  and  correct  tone. 

42.  Begin  staff  dictation  as  follows:  On  the  blackboard  make  staff  dicta- 
the  following  staff  representation 1  for  the  pitch  of  e  (or  efr). 


Give  the  pitch  of  e.  Point  to  the  first  note  head,  and  require  the 
class  to  sing  do  correctly.  Point  to  the  second  note  head,  and 
the  class  should  sing  ti.  Point  to  the  third  note  head,  and  the 
class  should  sing  la.  So  continue  till  the  exercise  8,  7,  6,  5,  4, 
3,  2,  1,  is  completed.  This  is  called  "  staff  dictation."  At  this  stage 
say  nothing  to  the  class  about  the  names  of  pitches  on  the  staff. 
If  any  explanation  is  needed  point  to  the  staff  representation  and 
say,  "This  is  a  picture  of  the  scale." 

1  In  place  of  the  scale-staff  representation  here  used  some  teachers  use  the  scale 
ladder. 


12  MUSIC  IN  THE  PUBLIC   SCHOOLS 

43.  Give  the  pitch  of  d,  aud  in  like  manner  dictate  orally,  and 
then  from  the  staff,  8,  7,  6,  5,  4,  3,  2,  1,  using  the  following  staff 
representation  for  the  pitch  of  d. 


= — m — *— w— 

8 

44.  Give  the  pitch  of  c,  and  in  like  manner  dictate  orally,  and 
then  from  the  staff,  8,  7,  6,  5,  4,  3,  2,  1,  using  the  following  staff 
representation  for  the  pitch  of  c. 


8 

45.  Give  the  pitch  of  bb,  and  in  like  manner  dictate  orally,  and 
then  from  the  staff,  1,  1,  7,  6,  5,  4,  3,  and  1,  2,  3,  2,  1,  7,  1,  using  the 
following  staff  representation  for  the  pitch  of  bb. 


I 

46.  The  teacher  will  note  that  in  the  keys  of  Bb,  A,  At?,  G,  and  F  scale 
progressions  descending  from  the  tonic  pitches  bb,  a,  ab,  g,  and  f  respec- 
tively, are  begun  with  1  instead  of  8,  and  that  the  tones  below  the  tonic  are 
indicated  by  a  line  below  the  scale  name,  thus  :  1,  7,  6,  5,  6,  7,  1.    This 
should  be  dictated,  "One,  seven  below,  six  below,"  etc. 

47.  Give  the  pitch  of  a,  and  in  like  manner  dictate  orally,  and 
then  from  the  staff,  1,  1,  7,  6,  5,  4,  3,  and  ],  2,  3,  4,  3,  2,  1,  using 
the  following  staff  representation  for  the  pitch  of  a  (or  ab). 


1 

48.  Give  the  pitch  of  g,  and  in  like  manner  dictate  orally,  and 
then  from  the  staff,  1,  7,  6,  5_,  6,  7,  1,  and  1,  2,  3,  4,  3",  2,  1,  using 
the  following  staff  representation  for  the  pitch  of  g. 


FIRST   YEAR  13 

49.  Give  the  pitch  of  f,  and  in  like  manner  dictate  orally,  and 
then  from  the  staff,  1,  7,  6,  5,  6,  7,  1,  and  1,  2,  3,  4,  3,  2,  1,  using 
the  following  staff  representation  for  the  pitch  of  f. 


TENTH  WEEK 

50.  Voice  Training.    Let  the  class  practice  Breathing  Exercise  I 
and  sing  Voice  Drill  XVII. 

51.  Rote  Singing.    Give  a  review  of  any  preceding  rote  song. 
Teach  Eote  Song  XVII,  "  Where  do  all  the  Daisies  Go  ?"  Continue 
the  individual  work  with  the  "  listening  section." 

52.  Preparation  for  Sight  Singing.   Dictate  orally  and  from  the 
staff  the  melodic  phrases  given  below.    For  manner  of  dictating 
and  staff  representation  for  each  pitch  see  §§  42-45.  These  phrases, 
besides  furnishing  graded  material  preparatory  for  sight  singing, 
also  present  simple  melodic  characteristics  of  inactive  and  active 
scale  tones.1 

Pitch  of  i  87654321  8876543      878 

Pitch  of!  87654321  8876543      878 

Pitch  of!  87654321  8765543  8877878 

Pitch  of  bb  1765543  1234321  1177171 

53.  Musical  Interpretation.   By  means  of  imitation  and  sugges- 
tion teach  the  musical  interpretation  of  "  Where  do  all  the  Daisies 
Go  ? "    Require  the  children  to  sing  softly  and  up  to  the  tempo. 

ELEVENTH  WEEK 

54.  Voice  Training.   Let  the  class  practice  Breathing  Exercise  L 
Give  a  review  of  Voice  Drill  XVII. 

1  The  inactive  scale  tones  are  1,  3,  5,  and  8,  and  are  so  called  because  they 
occupy  the  center  of  harmonic  repose,  and  are  therefore  inert,  not  moving 
except  in  obedience  to  some  outward  impulse. 

The  active  scale  tones  are  2,  4,  6,  and  7,  and  are  so  called  because  they  lie 
outside  of  this  circle  of  harmonic  repose,  and  are  urged  by  their  inherent  impulse 
to  regain  the  condition  of  rest  (see  page  6,  "Exercises  in  Melody-Writing,"  by 
Percy  Goetschius,  Mus.  Doc.). 


14  MUSIC  IN  THE  PUBLIC   SCHOOLS 

55.  Rote  Singing  and  Musical  Interpretation.   Give  a  review  of 
any  preceding  rote  song.    Eequire  the  children  to  sing  softly  and 
up  to  the  tempo.    Continue  the  individual  work  with  the  "  listen- 
ing section." 

56.  Preparation  for  Sight  Singing.    Dictate  orally,  and  from 
the  staff,  the  melodic  phrases  given  below.    For  manner  of  dictat- 
ing and  staff  representation  for  each  pitch  see  §§  42-49.    These 
phrases,  besides  furnishing  graded  material  preparatory  for  sight 
singing,  also  present  simple  melodic  characteristics  of  inactive  and 
active  scale  tones,  and  introduce  the  interval  5—8  in  melodic  pro- 
gression. 

Pitch  of  a  1176543     1234321     1121771 

Pitch  of  g  1765671     1234543     1121771 

Pitch  of  f  1765671     1234543     1232171 

Pitch  of  I  8  8  7  6  5  5  81 

Pitch  of!  8876558 

Pitch  of!  8765658 

Pitch  off  1765651 

Drill  individually.  Insist  that  the  children  sing  softly.  See 
Voice  Drill  XV. 

TWELFTH  WEEK 

57.  Voice  Training.   Let  the  class  practice  Breathing  Exercise  I 
and  sing  Voice  Drill  XVIII. 

58.  Rote  Singing.    Give  a  review  of  any  preceding  rote  song. 
Teach  Eote  Song  XVIII,  "  The  Water  Mill."    Continue  the  work 
with  the  w  listening  section." 

59.  Preparation  for  Sight  Singing.   Dictate  orally  and  from  the 
staff,  as  shown  in  §§  42-49,  the  melodic  phrases  given  below. 
The  interval  1-3  is  introduced  in  melodic  progression. 

Pitch  of  a    1765151          Pitch  of  g   1765151 

Pitch  Off     176.5551  Pitch  of  e     8765443 

1  Observe  that  in  the  exercises  given  for  the  oral  and  staff  dictation  of 
interval  work  the  scale  names  in  the  large  type  indicate  the  particular  interval 
to  be  taught. 


FIRST  YEAR  15 

Pitch  Of  £  8765443  Pitch  ofl  8565443 

Pitch  Of  I  1512321  Htch  Of  5  1565671 

Pitch  Of  g  1565671  Pitch  off  1765671 

Pitch  Of  §  8543221  Pitch  Of  d  8543221 

Pitch  of  6    1231221          Pitch  of  I    1  2  3  1  2  2  i 

60.  Musical  Interpretation.    By  means  of  imitation  and  sugges- 
tion teach  the  musical  interpretation  of  "  The  Water  Mill." 

THIRTEENTH  WEEK 

61.  Voice  Training.    Teach  Breathing  Exercise  II.    This  is  the  Breathing 
same  as  Breathing  Exercise  I,  §  7,  with  this  exception,  that  instead 

of  allowing  the  breath  to  escape  through  the  nostrils,  the  children 
exhale  silently  through  the  lips,  formed  as  in  pronouncing  the 
syllable  oo. 

Give  a  review  of  Voice  Drill  XVIII. 

62.  Rote  Singing  and  Musical  Interpretation.   Give  a  review  of 
any  preceding  rote  song. 

63.  Have  a  repertoire  of  songs  which  the  children  will  always 
take  delight  in  rendering  expressively  (see  First- Year  Suggestive 
Song  Programmes,  §§  174-178).    Continue  the  individual  work 
with  the  "  listening  section  "  until  this  section  is  merged  in  the 
"  singing  section." 

64.  Preparation  for  Sight  Singing.    Dictate  orally  and  from  the  interval* 

5~3»  *~5 

staff,  as  shown  in  §§  42-49,  the  melodic  phrases  given  below.  The 
intervals  5-3  and  2-5  are  introduced  in  a  melodic  environment. 

Pitch  of  a  1233121  Pitch  of  g  1233121 

Pitch  off  Ii71231  Pitch  of  6b  1  1  2  3  1  2  i 

Pitch  of  d  1231231  Pitch  of  c  855435s 

Pitch  of  bt>  i  5  5  4  3  5  1  Pitch  of  a  1234533 

Pitch  of  g  1234531  Pitch  off  1334553 

Pitch  of  5  i33453i  Pitch  of  d  i  i  3  4  5  3  i 

Pitch  of!  85432531  Pitch  of  bb  i  5  4  3  2  5  3 

Pitch  of  a  1353253 


J.6  MUSIC  IN  THE  PUBLIC  SCHOOLS 

FOURTEENTH  WEEK 

65.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise II.    Teach  the  children  how  to  sing  with  the  open  throat  by 
getting  them  to  yawn,  or  to  form  the  throat  as  for  yawning,  before 
commencing  to  sing,  and  to  keep  the  same  position  while  singing. 
This  act  will  raise  the  soft  palate  from  the  tongue,  while  at  the 
same  time  the  mouth  and  the  back  of  the  throat  will  form  together 
a  resonating  chamber  from  which  the  tone  issues  broad  and  open, 
and  free  from  nasal  quality.   Do  not  confuse  the  children  with 
explanations  of  vocal  processes. 

Let  the  class  sing  Voice  Drill  XIX. 

66.  Rote  Singing.    Give  a  review  of  any  preceding  rote  song. 
Teach  Rote  Song  XIX,  "  Morning  Song." 

67.  Preparation  for  Sight  Singing.     Dictate  orally  and  from 
the  staff  the  melodic  phrases  given  below.    The  interval  of  2-7_  is 
introduced  in  melodic  environment. 

Pitch  of  g   1353253  Pitch  off  335325s 

Pitch  of  eb  3  5  3  i  2  5  3  Pitch  of  I  85332531 

Pitch  of  £    8853253  Pitch  of  bb  i  i   7  i  2  7  i 

Pitch  of  a    5  3  2  i  7  2  i  Pitch  of  g  3  i  2  i  7  2  i 

Pitch  of  f    3  3  2  i  7  2  i  Pitch  of  e  3  i  7  i  2  7  i 

Pitch  of  d     i  3  2  i  7  2  i  Pitch  of  £  8553221 

Pitch  ofbb5i3i27i  Pitch  of  a  5325231 

Pitch  Of  g     3543271  Pitch  Off        5135271 

68.  Dictate  orally  and  from  the  staff  the  following  melodies : 

Pitch  of  S,  eb,  or  d  853125358531271 

f  Pitch  of  £  8535253585832711 

1  Pitch  of  bb  153525351513271/ 

Pitch  of  a,  ab,  g,  or  f  £135271 

Require  the  class  to  memorize  these  three  melodies,  as  each 
introduces  the  five  intervals  in  this  year's  work,  5-8,  3-5,  1-3, 

2-5,  2-7. 


FIRST  YEAR  17 

69.  Musical  Interpretation.    By  means  of  imitation  and  sug- 
gestion teach  the  musical  interpretation  of  "  Morning  Song."   Al- 
ways require  the  children  to  sing  softly  and  up  to  the  tempo. 

FIFTEENTH  WEEK 

70.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise II.   Allow  no  singing  without  the  open  throat  (see  §  65).    Give 
a  review  of  Voice  Drill  XIX. 

71.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

72.  Preparation  for  Sight  Singing.    Teach  the  staff  as  follows, 
On  the  blackboard  draw  a  line,  thus : 


Name  it  "  the  first  line."    Let  the  class  repeat. 
Add  another  line,  above  the  first,  thus : 


Let  the  class  name  it  "  the  second  line,"  and  so  proceed  with  the 

third,  fourth,  and  fifth  lines. 

Begin  again.    Draw  the  first  two  lines  of  the  staff,  thus : 


Point  to  the  intervening  space,  and  name  it  "  the  first  space." 
Let  the  class  repeat.    Add  another  line  above  these  two  lines,  thus : 


Let  the  class  name  the  added  space  "the  second  space,"  and  so 
proceed  until  the  fourth  space  is  added  and  named.  Name  these 
five  lines  and  four  spaces  ''the  staff."  Drill  the  class  until  they 
can  readily  name  any  line  or  space  of  the  staff  indicated  by  the 
pointer. 

73.  At  the  beginning  of  the  staff  make  a  bar  and  a  G  clef,  The  bar 

The  G  clef 
thus : 


I 


Name  them  "  the  bar  "  and  "  the  G  clef,"  and  let  the  class  repeat 
the  names. 


18 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


The  check 
mark 


74.  State  that  the  check  mark, w  x ,"  shows  on  what  line  or  space 
of  the  staff  do  is  located.    Place  the  following  on  the  board : 


Ask  the  class,  w  On  what  line  or  space  is  do  ? 

staff  reading  75.  Begin  staff  reading  as  follows:  Place  on  the  blackboard 
(see  How  to  copy  Music  on  the  Blackboard,  §  134)  the  staff,  the 
G  clef,  and  the  check  mark  in  the  fourth  space.  Give  the  pitch  of 
It?.  Write  on  the  staff  the  first  note  head  of  the  first  exercise  given 
below,  and  ask  the  class  to  sing.  They  should  respond  with  the 
syllable  do.  Then  write  the  second  note  head  and  ask  the  class 
to  sing.  They  should  respond  with  the  syllable  ti.  So  proceed, 
one  syllable  at  a  time,  until  the  exercise  is  completed.  Then  give 
the  other  exercises  in  a  similar  manner. 

76.  The  exercises  in  this  section,  besides  furnishing  graded 
material  preparatory  for  sight  singing,  also  present  simple  melodic 
characteristics  of  inactive  and  active  scale  tones. 


The  double 
bar 


The  leger 
line 


When  the  double  bar  is  placed  at  the  end  of  the  first  exercise 
name  it  "  the  double  bar  "  and  let  the  class  repeat  the  name. 


State  that  the  short  additional  line  below  the  staff  in  the  above 
exercise  is  called  a  leger  line. 


**— -m- 


~~—+- 


m     0- 


FIRST  YEAR 


19 


SIXTEENTH  WEEK 

77.  Voice  Training.   Let  the  class  practice  Breathing  Exercise  II 
and  the  open  throat.    Let  them  sing  Voice  Drill  XX. 

78.  Rote  Singing.    Teach  Rote  Song  XX,  "  Asleep  and  Awake." 

79.  Preparation  for  Sight  Singing.   Place  on  the  blackboard  for 
staff  reading  the  exercises  below,  in  the  following  manner.   After 
making  the  staff,  clef,  and  check  mark  of  the  first  exercise,  give  the 
pitch  of  g,  write  the  first  and  second  note  heads,  and  ask  the  class 
to  sing.   They  respond  with  the  syllables  do,  ti.    Proceed  in  the 
same  manner  with  the  rest  of  the  exercise,  grouping  the  note 
heads  so  that  they  will  be  sung,  la,  sol,  then  la,  ti,  and  do.    Do 
not  point  to  the  note  heads. 

80.  These  exercises,  besides  furnishing  graded  material  prepara-  interval  5-8 
tory  for  sight  singing,  also  present  simple  melodic  characteristics 

of  inactive  and  active  scale  tones,  and  introduce  the  interval  5-8 
in  melodic  progression. 


-V-+- 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


81.  Musical  Interpretation.    By  means  of  imitation  and  sug- 
gestion teach  the  musical  interpretation  of  "  Asleep  and  Awake." 

SEVENTEENTH  WEEK 

82.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
II  and  the  open  throat.    Give  a  review  of  Voice  Drill  XX. 

83.  Rote  Singing  and  Musical  Interpretation.    Give  a  review  of 
any  preceding  rote  song.    See  First- Year  Suggestive   Song  Pro- 
grammes, §§  174—178. 

84.  Preparation  for  Sight  Singing.    Place  on  the  blackboard  for 
staff  reading  the  exercises  given  below,  in  the  following  manner. 
After  making  the  staff,  G  clef,  and  check  mark  of  the  first  exer- 
cise give  the  pitch  of  bb,  write  in  the  first  four  note  heads,  and 
ask  the  class  to  sing.     They  respond  with  the   syllables  do,  ti, 
la,   sol.     Then  write  the  last  three  note  heads  and  ask  the  class 
to  sing.    They  respond  with  the  syllables  do,  sol,  do.    Do  not  point 
to  the  note  heads. 

interval  1-3        85.  The  interval  1—3  is  introduced  in  melodic  progression. 


(--jjt-  

CCn               0 

eh  x^  ^   «  -  —  ^  —  ^   * 

£r 

«j 

1      1       V 

xT 

\-ffK~rm  —      —  m  *  *  *  m  — 

ESEE  g—  *—•—*—  m     0      *  ~ 

° 

1    1    Jr 

(fo  x*     *  »—  v  »— 

tfT\  \e  a                                        m                   m 

1—  SSJz                                   ^ 

\    \  H2  x  w     *      0              w      •      m 

I    y 

i  i  y                                       [ 

L  vf 

/f                                       a      9      m 

1  4^1^  x  ro      ^      ^               a               m 

\(\\  v  a                 a       9 

\    \±\).  x  ^               *      0      * 

1  SS2  x*-             * 

^=1 


FIRST  YEAR 


21 


^^-, 


EIGHTEENTH  WEEK 

86.  Voice  Training.   Let  the  class  practice  Breathing  Exercise  II 
and  the  open  throat.    Let  the  class  sing  Voice  Drill  XXI. 

87.  Rote  Singing.    Teach  Rote  Song  XXI,  "  Peaceful  Night." 

88.  Preparatory  for  Sight  Singing.    Place  on  the  blackboard 
for  staff  reading  the  exercises  given  below,  in  the  following  manner. 
After  making  the  staff,  G  clef,  and  check  mark  of  the  first  exercise 
give  the  pitch  of  c,  write  the  entire  seven  note  heads,  and  ask  the 
class  to  sing.    They  respond  with  the  syllables  do,  re,  mi,  do,  re, 
mi,  do.     Write   the  exercise  slowly  and    in  plain  view  of   each 
member  of  the  class,  so  that  the  children  may  read  it  silently 
while  it  is  being  written.    Do  not  point  to  the  note  heads. 

89.  The  interval  5—3  is  introduced  in  melodic  progression.  interval  5-3 


22 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


-0     m 


m 


90.  Musical  Interpretation.    By  means  of  imitation  and  sugges- 
tion teach  the  musical  interpretation  of  "  Peaceful  Night."   Always 
require  the  children  to  sing  softly  and  up  to  the  tempo. 

NINETEENTH  WEEK 

91.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
II  and  the  open  throat.    Give  a  review  of  Voice  Drill  XXI. 

92.  Rote  Singing  and  Musical  Interpretation.   Give  a  review  of 
any  preceding  rote  song.    See  First- Year  Suggestive  Song  Pro- 
grammes, §§  174-178. 

93.  Preparatory  for  Sight  Singing.    Place  on  the  blackboard 
for  staff  reading  the  exercises  given  below,  in  the  same  manner  as 
described  in  §  88. 

interval  a-7        94.  The  interval  2-7  is  introduced  in  melodic  progression. 


FIRST  YEAR 


23 


-*0    *      — 0- 


•   y     _ 

CCS 

X  9 

V 

*^p 

S32 

»    * 


TWENTIETH  WEEK 

95.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
II  and  the  open  throat-. 

96.  Ask  the  class  to  pronounce  "her,"  then  the  vowel  sound  introductory 
e,  and  on  the  pitch  of  g  to  sing  oo-6-a-e.    Let  the  class  sing  Voice  v 

Drill  XXII. 

97.  Rote  Singing.    Teach  the  Rote  Song  XXII,  "  Song  Story  — 
A  Snowflake." 

98.  Preparatory  for  Sight  Singing.   Place  on  the  blackboard  for 
staff  reading  the  exercises  given  below,  in  the  same  manner  as 
directed  in  §  88. 

99.  The  interval  2—5  is  introduced  in  melodic  progression.  interval  9-5 


24 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


m 


m 


=FI  E 


EW 


m^*=*=- 


100.  Musical  Interpretation.    By  means  of  imitation  and  sug- 
gestion   teach   the   musical   interpretation  of  "  Song    Story  —  A 
Snowflake." 

TWENTY-FIRST  WEEK 

101.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
II  and  the  open  throat.    Give  a  review  of  Voice  Drill  XXII. 

102.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song.    See  First- Year  Suggestive  Song  Pror 
grammes,  §§  174-178. 


FIRST  YEAR 


25 


103.  Preparatory  for  Sight  Singing.    Place  on  the  blackboard 


for  staff  reading  the  exercises  given  below. 


•9      m 


-0 — y 


]      jfc»<r-*^=^^+=*= 


tr 


26  MUSIC  IN  THE  PUBLIC  SCHOOLS 

TWENTY-SECOND  WEEK 

Tone  direction  104.  Voice  Training.  Teach  the  children  how  to  secure  good 
tone  direction,  as  follows 1 :  Having  obtained  the  open  throat 
(§  65),  require  the  pupils  to  take  plenty  of  breath  and  sing  the  fol- 
lowing, keeping  the  tones  well  forward  in  the  mouth  and  sustain- 
ing each : 


55 5 a e 


Require  them  to  begin  softly,  with  the  mouth  nearly  closed,  and 
gradually  open  the  mouth  to  form  5  (taking  care  not  to  let  the 
tone  slip  back). 

Now  change  to  a  by  opening  the  mouth  still  more.  The  mouth 
should  remain  well  open,  and  the  position  should  be  nearly  the 
same  for  the  other  vowels,  for  whenever  it  is  changed  a  different 
quality  of  tone  results.  If  the  children  are  allowing  the  tone  to 
slip  back,  require  them  to  begin  again  with  oo  and  blend  it  with 
the  vowel  sound  with  which  they  have  difficulty.  This  series  of 
vowel  sounds  may  be  used  on  all  pitches  between  c  and  a,  but 
must  be  sung  softly. 

A  change  of  syllable  must  not  cause  a  change  of  tone  production. 

If  the  tone  is  shrill,  use  oo  softly  ;  if  weak,  use  a. 

105.  The  following  essential  conditions  of  proper  tone  direction 
and  tone  production  must  be  carefully  borne  in  mind  and  put  in 
practice  by  the  teacher,  who  should  remember  that  the  quality  of 
tone  she  produces  will  be  imitated  by  the  children. 
•  a.  The  walls  of  the  chest  must  be  kept  constantly  expanded 
and  the  cavity  of  the  chest  well  filled  with  a  sufficient  quantity 
of  air.  Breath  used  in  singing  must  be  propelled  from  the  lower 
part  of  the  lungs  in  order  that  the  walls  of  the  chest  may  not  be 
allowed  to  collapse.2 

1  Do  not  confuse  the  children  with  technical  terms  or  lengthy  explanations. 

2  While  it  is  impracticable  to  explain  to  the   children   the   physiological 
mechanics  of  breath  propulsion,  the  process  may  be  illustrated  by  means  of  a 
fountain-pen  filler.    The  empirical  phrase,  "  Push  the  breath  up  from  the  waist" 
may  be  found  useful. 


FIRST  YEAR      .  27 

5.  The  mouth  must  be  well  open  both  before  and  during 
singing. 

c.  The  tongue  must  lie  as  nearly  flat  as  possible  upon  the  floor 
of  the  mouth. 

d.  The  soft  palate  must  be  kept  raised  both  before  and  during 
singing,  as  in  the  action  of  yawning. 

e.  Place  each  tone  well  forward  and  high  in  the  mouth,  and  try 
to  keep  it  there.    If  allowed  to  slip  back,  it  will  never  be  effective. 
In  other  words,  the  sound  must  be  directed  to  the  back  of  the 
upper  front  teeth,  so  that  it  will  issue  directly  from  the  mouth  and 
not  escape  through  the  nostrils. 

/.  Attack  each  tone  firmly  and  clearly. 

Work  for  quality.  This  can  best  be  accomplished  by  requiring 
soft  singing  until  the  pupils  know  how  to  place  a  tone  and  can 
get  the  correct  quality ;  then  by  proper  control  of  the  breath  the 
tone  may  be  made  stronger. 

106.  Let  the  class  sing  Voice  Drill  XXIII. 

107.  Rote  Singing.    Teach  Eote  Song  XXIII, "  Winter  Lullaby." 

108.  Teach  the  beat  and  beat  accent  as  follows : 

Eecall  to  the  children's  minds  the  slow  and  steady  tolling  of  a 
bell.  Recite  for  them,  in  exact  time,  with  equal  emphasis  on  all 
words,  metronome  about  69,  thus : 

"  Ding,  dong,  ding,  dong,  ding,  dong,  ding,  dong." 

Let  them  imitate  it ;  then  inform  them  that  each  "  ding  "  is  one  The  beat 
beat  and  each  "  dong  "  is  one  beat. 

Let  them  recall  and  imitate  also  the  slow  and  steady  ticking  Beat  accent 
of  a  clock,  thus : 

"  Tick,  took,  tick,  took,  tick,  took,  tick,  tock." 

Tell  them  that  each  "  tick "  and  each  "  tock "  indicates  also 
one  beat. 

In  front  of  the  class  march  eight  steps  in  exact  time  and  tell 
them  that  each  step  of  inarching  also  marks  one  beat. 

109.  The  Rhythmic  Type  One,  or,  as  it.  is  briefly  called  in  teach- 
ing, Type  One,  is  a  one-beat  tone,  and  in  all  quarter  measures  is 

represented  by  a  quarter  note,  thus :  J 


28 


MUSIC  JN  THE  PUBLIC  SCHOOLS 


110.  Teach  the  one-beat  tone,  Type  One,  by  imitation  as  follows : 
On  any  pitch,  as  eb,  and  with  any  syllable,  as  do,  in  exact  time, 
sing  for  the  class  four  one-beat  tones,  metronome  about  69,  accent- 
ing all  tones  equally,  thus  : 


do 


do       do 


Ask  the  class  to  imitate  it  and  insist  that  it  be  sung  in  exact 
time  and  that  all  tones  be  accented  equally. 

With  the  same  pitch,  syllable,  and  tempo,  sing  for  the  class  eight 
one-beat  tones,  accenting  all  tones  equally,  thus : 


Do       do       do       do       do      do      do      do 


one-beat  tone  Ask  the  class  to  imitate  it  and  insist  that  it  be  sung  in  exact 
time  and  that  all  tones  be  accented  equally.  When  this  has  been 
done  correctly,  inform  the  class  that  each  do  is  here  a  one-beat 

Type  one        tone  and  is  called  Type  One. 

Eepresent  Type  One  in  the  same  exercise  on  the  blackboard,  thus : 


Tell  the  class  that  each  note  is  a  picture  of  Type  One. 

Give  the  pitch  of  Ib  and  ask  the  class  to  sing  the  scale  down- 
ward with  Type  One,  using  the  sol-fa  syllables  or  any  common 
syllable,  such  as  loo.  As  they  near  the  end  of  the  exercise  do  not 
allow  them  to  hasten  the  tempo. 

When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus : 
6    . 


-?r-~xp  *— 

0_ 

—  I  — 

-H- 

— 

i 

$fr  —  1 

-f- 

— 

'9 

J 

-*= 

Let  the  class  sing  Exercises  a  and  b  from  the  blackboard  until 
the  steady  and  regular  succession  of  Type  One  is  mastered. 


FIRST  YEAR 


29 


111.  Give  any  pitch,  as  et>,  and  any  syllable,  as  do,  and  ask  the  Rhythmic 
class  to  sing  Type  One  twice,  in  response  to  which  they  should  sing : 


Do      do 


Dictate  to  the  class  Type  One  four  times,  in  response  to  which 
they  should  sing : 


Do      do      do 


do 


Dictate  to  the  class  Type  One  eight  times,  in  response  to  which 
they  should  sing : 


Do      do 


do 


do      do      do       do 


Place  the  following  on  the  blackboard,  give  the  pitch  of  eb,  and 
require  the  class  to  sing  slowly,  in  exact  time,  with  equal  accent  on 
all  tones.  Do  not  point  to  the  notes. 

•    J    J 

J     J    J    J 
J    J     J     J    J     J     J    J 

112.  Place  the  following  on  the  blackboard  and  require  the 
class  to  sing  slowly,  in  exact  time,  with  equal  accent  on  all  tones. 
Do  not  point  to  the  notes. 


30 


113.  Musical  Interpretation.    By  means  of  imitation  and  sug- 
gestion teach  the  musical  interpretation  of  "  Winter  Lullaby." 

TWENTY-THIKD   WEEK 

114.  Voice  Training.    Insist  on  good  breath  support,  §  61,  the 
open  throat,  §  65,  and  good  tone  direction,  §  104    Let  the  class 
sing  Voice  Drill  XXIV. 

115.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  songs.    See  First- Year  Suggestive  Programmes, 
§§  174-178. 

Type-one  rest      116.  Preparatory   for  Sight  Singing.     Develop  the   one-beat 
silence,  Type-One  rest,  as  follows : 

Place  on  the  blackboard  the  following : 


Ask  trie  class  to  sing  this  exercise ;  then  cancel  the  fourth  and 
last  notes  by  drawing  a  line  through  each,  thus : 


Ask  the  class  to  sing  the  exercise  as  it  now  stands,  and  when 
they  come  to  the  canceled  or  crossed-out  notes  to  remain  silent 
and  think  Type  One  instead  of  singing  it. 

When  this  is  correctly  done  inform  the  class  that  the  silence  is 
a  Type-One  rest. 

Erase  the  canceled  notes  and  substitute  for  them  quarter  rests ; 
the  exercise  becomes 


i 


FIRST  YEAR 


31 


117.  Let  the  class  sing  the  following  from  the  blackboard.    Do 
not  point  to  the  notes. 


ivj-j  j  j-CTj^a  qrjTJ^=NJdMi 

3p3=i 


Ef^^   ^^E 

118.  The  Rhythmic  Double  Type,  or,  as  it  is  briefly  called  in 
teaching,  the  Double  Type,  is  a  two-beat  tone,  and  in  all  quarter 

measures  is  represented  by  the  half  note,  thus  :  & 

119.  From  two  Type  Ones  develop  the  two-beat  tone,  the  Double 
Type,  as  follows : 

Represent  on  the  blackboard  two  Type  Ones  in  the  following 
exercise : 


Ask  the  class  to  sing  them ;  then  tie  the  two  notes,  thus : 


Ask  the  class  to  sing,  joining  the  two  tones  together,  and  at  the 
same  time  preserving  the  accent  on  each  beat,  thus : 


Do 


When  this  has  been  sung  correctly  tell  them  that  they  have  Double  Type 
sung  a  Double  Type. 


I2  MUSIC   IN   THE  PUBLIC   SCHOOLS 

Eepresent  it  on  the  blackboard,  thus  : 


Tell  the  class  that  this  note  represents,  or  is  a  picture  of,  a 
Double  Type. 

Let  the  class  sing  the  following  exercise  from  the  blackboard. 


Give  the  pitch  of  ib  and  ask  the  class  to  sing  the  scale  down- 
ward with  the  Double  Type  for  each  tone,  using  the  sol-fa  syllables 
or  any  common  syllable,  as  loo.  As  they  near  the  end  of  the 
exercise  do  not  allow  them  to  hasten  the  tempo. 

When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus : 
b 


Let  the  class  sing  Exercises  a  and  b  from  the  blackboard  until 
the  regular  succession  of  Double  Types  is  mastered. 

120.  Rhythmic  Dictation.  Ask  the  class  to  sing  a  Double  Type 
twice,  in  response  to  which  they  should  sing : 


In  a  similar  manner  dictate  as  follows  : 
Double  Type  four  times. 
Type  One  twice,  and  a  Double  Type. 
Type  One  four  times,  and  Double  Type  twice,  etc. 
Place  on  the  blackboard  the  following  exercises,  give  the  pitch 
of  eb,  and  require  the  class  to  sing  them.    Do  not  point  to  the 
notes. 


FIRST  YEAR 


33 


J   J 

j   J 
j   j 


j 

J 

J 

J 

J 

J 

J 

J 

J 

J 

J 

J 

J 

J 

1 

* 

J 

J 

X 

J 

J 

1 

J 

X 

J 

X 

1 

J 

X 

121.  Place  the  following  exercises  on  the  blackboard  and  re- 
quire the  class  to  sing  them.    Do  not  point  to  the  notes. 


f-*«- 


TWENTY-FOURTH  WEEK 

122.  Voice  Training.  To  obtain  good  tone  direction,  let  the 
class  with  good  breath  support  and  the  open  throat  practice  regu- 
larly this  exercise : 


oo  —  o 


Let  them  repeat  it  softly  on  any  pitch  between  c  and  b.  Give  a 
review  of  Voice  Drill  XXIV. 

123.  Rote  Singing.  Give  a  review  of  Rote  Song  XVIII,  "  The 
Water  Mill."  Teach  Rote  Song  XXIV,  "  March  Winds." 


MUSIC   IN  THE  PUBLIC   SCHOOLS 


124.  Preparation  for  Sight   Singing.    Teach  the  measure  a 
follows :  Place  on  the  blackboard  the  following  exercise : 


Give  the  pitch,  and  ask  the  class  to  sing  the  exercise,  using  the 
sol-fa  syllable,  do,  or  any  common  syllable,  such  as  loo,  and  giving 
a  slight  and  equal  accent  to  all  tones. 

125.  Insert  the  bars  in  Exercise  a,  and  it  becomes 
b   . 


Require  the  class  to  sing  Exercise  b  in  the  same  manner  as 
Exercise  a.  Explain  that  the  space  between  two  bars  is  called  a 
measure. 

126.  Place  on  the  blackboard  the  following  exercises  and  re- 
quire the  class  to  sing  them  at  sight. 

For  the  present  the  beat  accent  only  is  used  in  sight  singing. 
The  measure  and  rhythmic  accents  are  used  in  rote  singing  and 
musical  interpretation. 


|U*TJ= 


m 


127.  Musical  Interpretation.    By  imitation  and  suggestion  teach 
the  musical  interpretation  of  "  March  Winds." 


FIEST  YEAR  35 

/ 

TWENTY-FIFTH  WEEK 

128.  Voice  Training.    Give  a  review  of  the  exercise  for  voice 
training,  §  122. 

129.  Teach  Breathing  Exercise  III  as  follows :  Let  the  children  Breathing 
inhale,  as  in  Breathing  Exercise  I,  §  7,  but  through  the  mouth 
slightly  open,  and  retain  the  breath  two  slow  beats ;  then  sing  very 

softly  the  syllable  oo  to  a  medium  pitch,  as  g ,  while  four  slow 
beats  (metronome  60)  are  counted.  Caution  the  children  to  allow 
no  superfluous  breath  to  escape;  that  is,  the  tone  must  not  be 
"  woolly."  Allow  no  hissing  sound  to  accompany  it.  The  children 
may  be  told  to  "hold  the  breath  back."  This  phrase,  though 
empirical,  will  be  found  of  more  use  in  enabling  the  children  to 
manage  the  breath  than  an  elaborate  explanation  of  the  physio- 
logical action  of  breathing. 

The  time  during  which  inhalation  and  exhalation  take  place  may 
be  gradually  lengthened  from  four  to  five,  six,  seven,  and  eight  beats 
each.  Afterwards,  the  time  occupied  by  the  singing  of  a  tone  may 
be  greatly  extended,  but  very  gradually,  until  many  of  the  children 
are  able  to  prolong  the  tone  for  ten,  fifteen,  or  even  twenty  seconds. 

130.  In  breathing  exercises  without  tone  production  the  inha- 
lation is  through  the  nostrils  with  closed  mouth ;  with  tone  pro- 
duction the  inhalation  is,  as  a  rule,  through  the  open  mouth.   Teach 
Voice  Drill  XXV. 

131.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

132.  Sight  Singing.    The  volume  entitled  "  Introductory  Sight- 
Singing  Melodies  "  is  now  to  be  used  by  the  teacher.    Place  on  the 
blackboard  Nos.  1-5  and  proceed  with  each  melody  as  follows: 
Tell  the  children  where  to  find  do,  or,  if  desired,  use  the  check 
mark,  give  the  pitch,  and  require  them  to  sing  it  at  sight.    Do  not 
point  to  the  notes  or  sing  for  or  with  the  children. 

The  teacher  should  insist  that  all  exercise  melodies  be  sung 
softly  in  accordance  with  the  dynamic  signs  p  and  pp.  Especially 
in  melody  No.  3  and  similar  melodies,  the  children  should  sing  the 
lower  tones  very  softly  in  order  that  the  chest  tones  be  not  carried 
up  into  the  region  of  the  head  voice. 


36  MUSIC  IN  THE  PUBLIC   SCHOOLS 

133.  Melody  No.  4  is  to  be  placed  on  the  board  and  sung  in  the 
same  manner  as  the  others.    After  the  children  have  sung  the 
melody  several  times  teach  them  the  words  and  require  them  to 
sing  the  melody  with  the  words.    Proceed  in  like  manner  with  all 
melodies  that  are  set  to  verse  in  the  "Introductory  Sight-Singing 
Melodies." 

134.  With  slight  preparation  every  teacher  can  copy  music  on 
the  blackboard    easily,  legibly,  and  quickly.     There  should   be 
painted  in  white,  in  a  convenient  place  on  the  blackboard,  four 
staves,  one  above  the  other,  and  each  of  sufficient  length  to  accom- 
modate eight  two-quarter  measures,  —  about  five  and  one-half  feet. 
The  lines  of  each  staff  should  be  one  eighth  of  an  inch  in  width  and 
separated  by  a  one-inch  or  one  and  one-quarter  inch  space.    At  the 
beginning  of  each  staff  should  be  painted  a  bar  and  G  clef,  and  at 
.the  end  of  each  staff  a  double  bar.    The  four  painted  staves  will 
appear  thus : 


The  teacher  will  find  no  difficulty  in  supplying  easily  and 
quickly  the  measure  and  key  signatures  and  bars. 

To  make  a  closed  note  head,  such  as  the  quarter-note  head,  take 
a  piece  of  crayon  about  an  inch  in  length  and  with  its  side  to  the 
blackboard  make  a  short  heavy  stroke.  Then  by  using  the  end  of 
the  crayon  make  the  stem  with  a  light  stroke. 

As  the  copy  gradually  appears  on  the  blackboard  let  the  class 
study  it,  and  by  the  time  it  is  complete  they  will  be  ready  to  sing 
it  at  sight. 


FIKST  YEAR  37 

TWENTY-SIXTH  WEEK 

135.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  tone  direction,  §  122.    Give  a  review  of 
Voice  Drill  XXV. 

136.  Rote  Singing.    Teach  Rote  Song  XXV,  "  In  School  and 
Out." 

137.  Sight    Singing.    Give   the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  6-10  (see  §  132). 

138.  Musical  Interpretation.    By  means  of  imitation  and  sugges- 
tion teach  the  musical  interpretation  of  "In  School  and  Out." 
Always  require  the  children  to  sing  softly  and  up  to  ther  tempo, 

TWENTY-SEVENTH  WEEK 

139.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  tone  direction,  §  122,  and  sing  Voice 
Drill  XXVI. 

140.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any .  preceding  rote  song. 

141.  Sight    Singing.     Give    the   "  Introductory   Sight-Singing 
Melodies,"  Nos.  11-16. 

TWENTY-EIGHTH  WEEK 

142.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  tone  direction,  §  122.    Give  a  review  of 
Voice  Drill  XXVI. 

143.  Rote   Singing.     Teach   Rote    Song    XXVI,    "The   Little 
Window." 

144.  Sight    Singing.     Give    the  "  Introductory   Sight-Singing 
Melodies,"  Nos.  17-22. 

145.  Musical  Interpretation.    By  means  of  imitation  and  sug- 
gestion teach  the  musical  interpretation  of  "  The  Little  Window." 

TWENTY-NINTH  WEEK 

146.  Voice  Training.    Let  the'  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  tone   direction,  §  122,  and  sing 
Voice  Drill  XXVII. 

461 


38  MUSIC  IN  THE  PUBLIC   SCHOOLS 

147.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  songs. 

148.  Sight    Singing.     Give    the    "  Introductory  Sight-Singing 
Melodies,"  Nos.  23-29. 

THIRTIETH  WEEK 

149.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  tone  direction,  §  122.    Give  a  review  of 
the  Voice  Drill  XXVII. 

150.  Rote  Singing.    Teach  Eote  Song  XXVII,  "What  Robin 
Told." 

151.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  30-36. 

152.  Musical  Interpretation.    By  means  of  imitation  and  sug- 
gestion teach  the  musical  interpretation  of  "  What  Robin  Told." 

THIKTY-FIKST  WEEK 

153.  Voice  Training.    Let  the  class  practice  Breathing-  Exer- 
cise III,  the  open  throat,  and  tone  direction,  §  122,  and  sing  Voice 
Drill  XXVIII. 

154.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

155.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  37-44. 

THIRTY-SECOND  WEEK 

156.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  tone  direction.   Give  a  review  of 
Voice  Drill  XXVIII. 

157.  Rote  Singing.    Teach  Rote  Song  XXVIII,  "  Song  of  the 
Trees." 

158.  Sight    Singing.    Give   the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  45-53. 

159.  Musical  Interpretation.    By  means  of  imitation  and  sug- 
gestion teach  the  musical  interpretation  of  "  Song  of  the  Trees." 
Always  require  the  children  to  sing  softly  and  up  to  the  tempo. 


FIRST  YEAR  39 

THIRTY-THIRD  WEEK 

160.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  opeii  throat,  and  tone  direction. 

161.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

162.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  54-62. 

163.  Call  attention  to  the  slur  in  melodies  Nos.  57  and  59,  and 
illustrate  to  the  class  its  use. 

THIRTY-FOURTH  WEEK 

/ 

164.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  tone  direction. 

165.  Rote  Singing.    Teach  Kote  Song  XXIX,  "  The  Flag  We 
Love." 

166.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  63-72. 

167.  Musical  Interpretation.    By  means  of  imitation  and  sug- 
gestion teach  the  musical  interpretation  of  "  The  Flag  We  Love." 

THIRTY-FIFTH  WEEK 

168.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  tone  direction. 

169.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

170.  Sight    Singing.    Give  the   "  Introductory    Sight-Singing 
Melodies,"  review  Nos.  37—53. 

THIRTY-SIXTH  WEEK 

171.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  tone  direction. 

172.  Rote  Singing  and  Musical  Interpretation.   Give  a  review 
of  any  preceding  rote  song.    Let  the  class  prepare  from  this  year's 
work  several  different  song  programmes,  and  render  them. 

173.  Sight    Singing.     Give   the    "  Introductory    Sight-Singing 
Melodies,"  review  Nos.  54—72. 


40  MUSIC  IN  THE  PUBLIC  SCHOOLS 


FIRST- YEAR  SONG  PROGRAMMES 

174.  The  following  song  programmes  compiled  from  the  "  Teach- 
ers' Edition  for  Elementary  Grades,"  and  representing  this  year's 
work,  are  suggested : 

1.  "  Morning  Song  " .       French 

Page  23 

2.  "Asleep  and  Awake" Schumann 

Page  24 

3.  «  The  Water  Mill  " Louis  Diehl 

Page  21 

4.  "  Winter  Lullaby  " W.  Taubert 

Page  27 

5.  "March  Winds" E.  A.  Gowan 

Page  28 

175. 

1.  "In  School  and  Out" Italian 

Page  29 

2.  " The  Little  Window  " W.  W.  Gilehrist 

Page  31 

3.  "See-Saw"  Pagel8 

4.  "  What  Robin  Told  " Fannie  Snow  Knowlton 

Page  32 

5.  "  The  Flag  We  Love  " Dr.  J.  Mainzer 

Page  36 

176. 

1.  Song  Story  —  "  Brownies' Umbrellas  " E.  Gayrhos 

Page  13 

2.  "Boating" C.B.Edmunds 

Page  10 

3.  "That 's  What  I'd  Do  " Frederic  Field  Bullard 

Page  8 

4.  "  The  Dream  Man  " German 

Page  15 

5.  "  Little  Gipsy  Dandelion  " F.  Remsen 

Page  5 

177. 

1.  "Indian  Summer" C.  B.  Edmunds 

Page  16 

2.  "Swinging" Hamilton  Aide 

Page  11 

3.  Song  Story  —  "A  Party" D.  J.  Ayer 

Page  6 

4.  "  Nature's  Good-Night  "        Myles  B.  Foster 

Page  12 

5.  "  Where  do  all  the  Daisies  Go  ?" Martha  Thompson 

Page  20 


FIRST  YEAR  41 

178. 

1.  "  Lady  Goldenrod  " C.  S.  Conant 

Page  4 

2.  "  Stars  and  Flowers  " Schubert 

Page  2 

3.  "  Peaceful  Night  " Folk  Song 

Page  26 

4.  («)"  A  Disappointment  " Schumann 

PageC 

(ft)  "Song  of  the  Trees  " German 

Page  34 

5.  Song  Story  —  "ASnowflake" Schubert 

Page  26 

179.  Suggested  lesson  programmes  for  any  week  of  the  first 
year,  as,  for  example,  the  sixth  week,  §§  24-27,  are  as  follows : 

MONDAY 

1.  Practice  Breathing  Exercise  I,  §  7. 

2.  Musically  interpret  any  preceding  rote  song. 

3.  Do  individual  work  with  the  partial  monotones.    Here  2  and  3  may 

be  given  in  conjunction  ;  that  is,  after  the  singing  class  are  well 
started  and  while  they  are  interpreting  the  song  the  teacher  is 
going  about  among  the  partial  monotones  asking  this  one  and  that 
one  to  try  the  song  with  the  singing  class  and  judging  carefully 
the  result  of  each  effort. 

4.  Let  the  class  sing,  by  imitation,  Voice  Drill  X. 

5.  Do  individual  work  with  the  complete  monotones  (see  §  4). 

NOTE.  It  must  be  borne  in  mind  that  these  lesson  programmes  are  simply  sug- 
gested and  that  no  attempt  is  being  made  to  deprive  the  teacher  of  her  individu- 
ality. Circumstances  may  arise  in  which  it  becomes  necessary  for  her  to  discard 
the  regular  programme  and  spend  the  entire  lesson  on  some  one  feature  in  which 
the  class  is  deficient.  Any  good  lesson  programme  is  most  effective  when  the 
special  needs  and  mental  condition  of  the  class  are  thoroughly  considered. 

TUESDAY 

1.  Practice  Breathing  Exercise  I. 

2.  Musically  interpret  any  preceding  rote  song. 

3.  Do  individual  work  with  the  partial  monotones. 

4.  Teach  by  imitation  Rote  Song  X,  "Swinging." 

5.  Do  individual  work  with  the  complete  monotones. 

WEDNESDAY 

1.  Practice  Breathing  Exercise  I. 

2.  Perfect  the  musical  interpretation  of  Rote  Song  X,  "Swinging." 

3.  Do  individual  work  with  the  partial  monotones. 

4.  Let  the  class  sing,  by  imitation,  Voice  Drill  XT. 

5.  Do  individual  work  with  the  complete  monotones. 


42  MUSIC  IN  THE  PUBLIC   SCHOOLS 

THURSDAY 

1.  Practice  Breathing  Exercise  I. 

2.  Musically  interpret  Rote  Song  X  and  practice  Voice  Drill  XI. 

3.  Do  individual  work  with  the  partial  monotones. 

4.  Teach  by  imitation  Rote  Song  XI,  "Nature's  Good-Night." 

5.  Do  individual  work  with  the  complete  monotones. 

FRIDAY 

1.  Practice  Breathing  Exercise  I. 

2.  Practice  Voice  Drills  X  and  XI. 

3.  Do  individual  work  with  the  partial  monotones. 

4.  Musically  interpret  Rote  Songs  X  and  XI. 

5.  Do  individual  work  with  the  complete  monotones. 

180.    Suggested  lesson  programmes  for  the  twenty-fourth  week, 
§§  122-127,  are  as  follows : 

MONDAY 

1.  On  the  pitch  of  g  practice  65,  o,  a,  e,  for  breath  support,  open  throat, 

and  good  tone  direction. 

2.  Musically  interpret  any  preceding  rote  song. 

3.  Give  a    review  of  the  oral    and   staff   dictation  of    any  preceding 

interval. 

4.  Teach  Rote  Song  XXIV,  "March  Winds." 

5.  Do  individual  work. 

TUESDAY 

1.  On  the  pitch  of  bb  practice  66",  5,  a,  e. 

2.  Musically  interpret  Rote  Song  XXIV,  "March  Winds." 

3.  Teach  accent,  bar,  and  measure. 

4.  Do  individual  work. 

WEDNESDAY 

1.  On  the  pitch  of  a  practice  60,  5,  a,  e. 

2.  Musically  interpret  Rote  Song  XVIII,  "The  Water  Mill." 

3.  Give  a  review  of  accent,  bar,  and  measure. 

4.  Teach  2  measure. 

5.  Do  individual  work. 

THURSDAY 

1.  On  the  pitch  of  a  practice  oo,  6,  a,  e. 

2.  Musically  interpret  "March  Winds  "  or  any  preceding  rote  song. 

3.  Give   a  review  of  the  Double  Type,<^?,  Type  One  rest,  ^,  and  \ 

measure. 


F1KST   YEAK  43 

4.  Sing  at  sight  melodies  for  practice. 

5.  Do  individual  work. 

FRIDAY 

1.  On  the  pitch  of  g  practice  oo,  o,  a,  e. 

2.  Musically  interpret  any  preceding  rote  song. 

8.  Give  a  review  of   the  oral   and   staff  dictation  of   any  preceding 
interval. 

4.  Sing  at  sight  melodies  for  practice. 

5.  Do  individual  work. 


SECOND  TEAK 

SYNOPSIS 
Voice  Training 

Consonant  sounds.  Initial  consonant  sounds,  1,  t,  b,  k,  p,  d,  186  ;  m, 
n,  190. 

The  consonant  combinations,  pr,  248  ;  bl,  261  ;  gl,  280  ;  fl,  292  ;  and 
gr,  312. 

Vocalization  of  songs,  exercise  melodies,  and  voice  drills. 

Rote  Singing 

Rote  songs  and  master  songs. 

Sight  Singing  \^ 

Tune.  Oral  and  staff  dictation  in  melodic  progression  of  fifteen  additional 
skips,  of  which  five  are  very  frequent  intervals,  8-3,  3-5,  7-5,  2-5,  and 
1-8,  and  the  frequent  intervals  5-1,  4-2,  6-8,  5-5,  5-7,  4-5,  4-7,  6-4,  6-3, 
4-1,  193-294  ;  all  skips  introduced  in  different  key  positions  and  by  local 
preparation.  Pitch  names,  310-318. 

Time.    Quarter  note,  quarter  rest,  |   measure,  half  note,  200  ;    Triple 

Type  represented  by  the  dotted  half  note,  211  ;   |  measure,  213  ;  half  rest 

239  ;  Quadruple  Type  represented  by  the  whole  note,  240  ;  f  measure,  257  ; 

Type  One  represented  by  an  eighth  note,  |  measure,  329  ;  eighth  rest,  330. 

Notation.    The  tie,  277  ;  the  repeat  and  first  and  second  endings,  235. 

Musical  Interpretation 

Dynamic  signs,  p  and  pp,  233. 

Phrasing  and  phrase  mark,  303.  By  suggestion  and  imitation  the 
musical  interpretation  of  all  material  in  this  year's  work. 

Musical  and  Poetic  Conceptions 

Musical  and  poetic  conceptions  are  unconsciously  acquired  by  the  use  of 
simple  songs  and  exercise  melodies  containing  the  more  general  character- 
istics of  the  folk  song  ;  also  by  the  musical  representation  of  seventeen 
composers,  .the  more  important  of  whom  are  Joseph  Barnby,  Brahms, 
Stephen  C.  Foster,  Niels  W.  Gade,  Gounod,  Thomas  Koschat,  Mendelssohn, 
Rubinstein,  Schubert,  and  !\Veber  ;  and  twelve  poets  in  song,  the  more 
important  of  whom  are  Alice  E.  Allen,  Malcolm  Douglass,  Louis  C.  Elson, 
John  B.  Tabb,  and  Tennyson. 

Suggested  song  programmes,  339,  340. 

44 


SECOND  YEAR  45 

Material 

For  pupils'  use  "Introductory  Sight-Singing  Melodies,"  in  which  will 
be  found  material  for  voice  training,  sight  singing,  musical  interpreta- 
tion, and  musical  conceptions.  For  teachers'  use  "Music  in  the  Public 
Schools"  and  the  "Teachers'  Edition  for  Elementary  Grades,"  in  which 
will  be  found  eleven  voice  drills,  nine  rote  songs,  twelve  master  songs,  and 
piano  accompaniments. 


SECOND   YEAR 

PLAN  FOE  THIRTY-SIX  WEEKS'  WORK 

FIRST  WEEK 

181.  While  each  weekly  lesson  is  here  given  under  separate 
subject  headings,  as  "  Rote  Singing,"  "  Voice  Training,"  etc.,  it  is 
expected  that,  as  the  lessons  progress,  these  separate  subjects  will 
be  more  and  more  blended  in  teaching. 

182.  Voice  Training.    Practice  Breathing  Exercise  III,  §  129, 
the  open  throat,  §  65,  and  good  tone  direction,  §  104.    This  voice 
drill  is  good  for  frequent  practice. 


56  —  o a S 

183.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  first-year  song  programme,  §§  174—178. 

184.  Discuss  with  the  children  the  meaning  of  the  poem  and 
through  it  impart  the  kindred  spirit  of  the  music.    This  is  the 
basis  of  interpretation  at  this  stage  and  will  greatly  assist  the 
children    in   rendering    the    song    with    the    appropriate    tempo, 
dynamics,  and  feeling.     Children  are  inclined  to  sing  too  slowly. 
Keep  them  up  to  the  tempo.    Correct  obvious  faults  of  tone  pro- 
duction and  pronunciation  as  they  occur.    Insist  at  all  times  on  a 
clear,  distinct  enunciation  of  the  words.    Never  allow  shouting  or 
forcing  of  the  registers  (see  "  Teachers'  Edition  for  Elementary 
Grades,"  page  xi).    Insist  on  a  soft  tone.    Only  when  some  profi- 
ciency in  musical  interpretation  has  been  attained,  should  piano 
accompaniments  be  used. 

185.  Sight   Singing.    Place   the    "  Introductory   Sight-Singing 
Melodies  "  in  the  hands  of  the  children,  and  from  the  books  give 
a  review  of  Nos.  1-8. 

46 


SECOND  YEAR  47 

SECOND  WEEK 

186.  Voice  Training.    Ask  the  class  to  pronounce  and  sing  the  initial  con- 

_     .—    •  sonants  1,  t, 

vowel  sound  oo,  then  loo,  too,  boo,  m  such  a  manner  as  not  to  inter-  b,  k,  p,  a 

fere  with  the  purity  of  the  vowel  sound.   Loo  preceding  too  and 

boo  serves  as  a  model  for  the  enunciation  of  too  and  boo.    Let  the 

t  and  b  be  distinctly  heard,  but  not  with  so  much  explosive  force 

as  to  mar  the  vowel  sound  which  follows  it.    Proceed  in  the  same 

manner  with  o,  16  to  b6,  a,  la  ta  ba,  e,  le  te  be,  66,  koo  poo  doo,  5,  k5  p6 

d5,  a,  ka  pa  da,  and  e,  ke  pe  de. 

187.  Let  the  class  sing  Voice  Drill  XXIX,  with  proper  attention 
to  breath  support,  the  open  throat,  and  good  tone  direction. 

188.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  first-year  rote  song  (see  "  Teachers'  Edition  for  Elementary 
Grades,"  pages  1-37). 

189.  Sight  Singing.    Give  a  review  of  the  "  Introductory  Sight- 
Singing  Melodies,"  Nos,  9-17. 

THIRD  WEEK 

190.  Voice  Training.    Give  a  review  of   Voice  Drill  XXIX.  initial  con- 
Teach  the  initial  consonants  m  and  n  in  the  same  manner  as 

given  in  §  186.    Let  the  class  sing  Voice  Drill  XXX. 

191.  Rote  Singing.    Teach  Rote  Song  XXX,  "  October." 

192.  Sight  Singing.    Give  a  review  of  the  "  Introductory  Sight- 
Singing  Melodies,"  Nos.  18-28. 

193.  With  any  pitch  from  a  to  c,  as  1,  dictate  orally  the  interval  interval  5-1 
5-1  in  the  phrase  1  3  5  1  2  5  3  in  groups  of  two  scale  names  at  a 

time,  thus :  dictate  1  3,  and  the  class  responds  with  the  two  cor- 
responding tones ;  dictate  5  1,  and  the  class  responds ;  dictate  2  5, 
and  the  class  responds ;  dictate  3,  and  the  class  responds. 

Then  dictate  the  same  phrase  from  the  staff  in  the  following 
manner.  On  the  blackboard  make  the  staff  representation  for  the 
key  position  of  F. 


48 


MUSIC  IN  THE  PUBLIC  SCHOOLS 


Point  to  the  note  heads  in  the  first  and  second  spaces,  here 
representing  1  and  3 ;  the  class  responds  with  the  two  corre- 
sponding tones. 

Point  to  the  note  heads  in  the  third  and  first  spaces,  represent- 
ing 1  and  5  ;  the  class  responds  with  the  two  corresponding  tones ; 
so  continue  till  the  entire  phrase  is  completed. 

Staff  representations  for  all  the  different  key  positions  may  be 
made  as  shown  in  §§  42-49,' with  the  addition  in  each  case  of  the 
clef  and  key  signature.  If  preferred,  the  check  mark,  as  shown  in 
§  74,  may  be  used  to  indicate  the  place  of  1  or  8.  If  the  check 
mark  is  not  used,  the  class  may  be  told  that  the  first  note  in  each 
staff  representation  is  1  or  8,  as  the  case  may  be. 

194.  Musical  Interpretation.  By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  October." 


FOURTH  WEEK 

195.  Voicj  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  tlu  opc:i  throat,  and  tone  direction. 

196.  Rote  Singing.    Teach  the  master  song  "  Good  Morning," 
page  217,  "Teachers'  Edition  for  Elementary  Grades." 

If  through  lack  of  time  it  is  found  necessary  to  curtail  the 
amount  of  work  here  laid  out,  omit  the  master  songs. 

197.  Sight  Singing.    Give  a  review  of  the  "  Introductory  Sight- 
Singing  Melodies,"  Nos.  29-41. 

198.  Give  a  review  by  oral  or  staff  dictation  of  the  interval 
1-5,  using  the  brief  melodic  phrase  1  5  3  3  5  1  3,  or  the  phrase  in 
§  884. 

199.  With  any  pitch  from  §  to  c,  as  1,  dictate  orally  and  from 
the  staff  the  interval  8-3  in  the  melodic  phrase  8  5  3  8  3  2  i. 

200.  Teach  the  terms  "  quarter  note,"  "  quarter  rest,"  "  |  meas- 
ure," and  "  half  note,"  as  follows  : 

Ask  the  class  to  turn  to  exercise  melody  No.  3 1  and  notice  that 
in  every  measure  Type  One  is  represented.  Inform  them  that  Type 
One  is  here  represented  by  a  quarter  note,  and  that  Type-One  rest 
at  the  end  of  the  melody  is  represented  by  a  quarter  rest ;  also  as 
there  are  two  quarter  notes  or  their  equivalent  in  each  measure 


SECOND  YEAR  49 

the  melody  is  written  in  two-quarter  measure,  and  the  sign  for 
two-quarter  measure,  |,  is  found  at  the  beginning  of  the  melody. 
On  the  same  page  ask  the  class  to  find  what  represents  a  Double 
Type.  Inform  them  that  this  is  a  half  note.  Let  the  class  recall 
that  a  Double  Type  is  made  up  in  time  value  of  two  Type  Ones, 
and  inform  them  that  for  this  reason  a  half  note  is  equal  to  two 
quarter  notes  in  time  value. 

201.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Good  Morning." 

FIFTH  WEEK 

202.  Voice  Training.    Let  the  class  practice   Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction,  and  sing  Voice 
Drill  XXXI. 

203.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  Rote  Song  XIX,  "  Morning  Song." 

204.  Sight  Singing.   Give  a  review  of  the  "  Introductory  Sight- 
Singing  Melodies,"  Nos.  42-56. 

205.  Give  a  review  by  oral  or  staff  dictation  of  the  intervals 
1—5  and  8—3,  using  the  brief  melodic  phrases  in  "  Melodic  Presen- 
tation of  Intervals,"  §  884. 

206.  With  any  pitch  from  bb  to  f,  as  1,  dictate  orally  and  from  interval  3-5 
the  staff  the  interval  3-5  in  the  melodic  phrase  3  i  _5  3  2  2  i. 

With  any  pitch  from  g  to  bb,  as  8,  dictate  orally  and  from  the  interval  7-5 
staff  the  interval  7—5  in  the  melodic  phrase  8  5  5  8  7  5  8. 

207.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction.    Give  a  review 
of  Voice  Drill  XXXI. 

SIXTH  WEEK 

208.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  good  tone  direction.    Give  a  review  of 
Voice  Drill  XXXI. 

209.  Rote  Singing.    Give  a  review  of  Eote  Song  XIX,  "  Morn- 
ing Song."    Teach  Rote  Song  XXXI,  "  The  Little  Soldier." 

210.  Sight  Singing.    Give  a  review  of  the  "  Introductory  Sight- 
Singing  Melodies,"  Nos.  57-72. 


50 


211.  The  Bhythmic  Triple  Type,  or,  as  it  is  briefly  called  in 
teaching,  the  Triple  Type,  is  a  three-beat  tone,  and  in  all  quarter 

measures  is  represented  by  a  dotted  half  note,  thus  :  &. 

From  three  Type  Ones  develop  the  three-beat  tone,  the  Triple 
Type,  as  follows  : 

Eepresent  on  the  blackboard  three  Type  Ones  in  the  following 
exercise  :  r\  u  ___ 


\  u 


Ask  the  class  to  sing  them ;  then  tie  the  three  notes,  thus : 

dt 


Ask  the  class  to  sing,  joining  the  three  tones  together  and  at  the 
same  time  preserving  the  accent  on  each  beat,  thus : 


Do 


Three-beat 
tone 


When  this  has  been  sung  correctly  inform  them  that  they  have 
sung  a  Triple  Type. 


Triple  type          Represent  it  on  the  blackboard,  thus  : 

represented  by 


J. 


Tell  the  class  that  this  note  represents  a  Triple  Type  and  is  a 
dotted  half  note. 

Place  the  following  on  the  blackboard : 


Let  the  class  sing  this  exercise  from  the  blackboard  until  the 
Triple  Types  have  become  familiar  to  them. 


SECOND  YEAR 


51 


212.  Rhythmic  Dictation.  Give  the  pitch  of  el?  and  any  syllable, 
as  do,  and  ask  the  class  to  sing  a  Triple  Type  and  a  Type  One ;  in 
response  they  should  sing  the  following : 


Do-o-o 


do 


In  a  similar  manner  dictate  as  follows : 

Type  One  four  times,  a  Triple  Type,  and  a  Type  One. 

A  Triple  Type,  a  Type  One,  a  Triple  Type,  and  a  Type  One. 

A  Triple  Type,  a  Type  One,  and  Double  Type  twice,  etc. 

Place  the  following  exercises  on  the  blackboard,  give  the  pitch 
of  6t?,  and  require  the  class  to  sing  them.  Do  not  point  to  the 
notes. 


J    J    •, 

J    J    J. 

X 

J 

J    J    * 

•y  • 

X 

J. 

J    J  J 

J  * 

J. 

J    J 

J  * 

J. 

J    J. 

X 

Place  the  following  exercises  on  the  blackboard  and  require  th 

class  to  sing  them.    Do  not  point  to  the  notes. 

a 

fl 

Jf  tt         1 

H  —  4  —  i  — 

1       Jf  • 

\  1  — 

-H  1  —  -i  ^  — 

—  In\  d~ 

^  —  i~-    ~^ 

~T&  —  1         lr?\&  

—  d— 

U_  —  d—           X 

VMv        "  » 

^      •      2^j| 

'      |          \>\)      X  A 

Jf  TT^    V  /*"D    *            ^                                           •^~ 

1"       1      9^ 

^\        Tl   A  C-X 

^      P      i*      f~~" 

&\v    x 

—  .-,    *          4 

m      * 

•?T\ 

r 

r      *     r      * 

V^L7 

i 

[     v^L' 

1 

«-* 

*-> 

1              I 

JL     g 

n 

i 

r/  JP  IA*J 

i 

1       1       i*      *^     ^ 

I 

/k     ff  y^ 

5  —  J—^  —  ** 

^-/k  t>|7  — 

•L-J--H  —  *- 

n 

tgt 

£3 

\ 

V 

>[         (~z 

j^"t)                           ^^    * 

\» 

irn 

^•^                           1 

52 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


pour-quarter        213.  Teach  the  four-quarter  measure  as  follows:  Place  on  the 

measure 

black  board : 


-J-J  J 


Give  the  pitch  and  ask  the  class  to  sing  this  exercise,  using  the 
sol-fa  syllable,  do,  or  any  common  syllable,  as  loo,  and  accenting 
all  beats  equally  and  evenly. 

Insert  bars  in  Exercise  a,  and  it  becomes : 
b    . 


- 


J    J—  J    J    I  J—  J    J    J— 


Require  the  class  to  sing  Exercise  b  in  the  same  manner  as 
Exercise  a. 

Recall  the  fact  that  a  measure  is  explained  as  "  the  space 
between  two  bars." 

Call  attention  to  the  four  quarter  notes  in  each  measure,  and 
insert  the  measure  signature  "  \  "  in  Exercise  b,  telling  the  class 
that  this  is  the  sign  of  four-quarter  measure. 

214.  Place  the  following  exercises  on  the  blackboard,  and  require 
the  class  to  sing  them.  Do  not  point  to  the  notes. 


a^B 


m 


E 


H! 


± 


215.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  The  Little  Soldier." 

SEVENTH  WEEK 

216.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  good  tone  direction. 


SECOND  YEAR  53 

217.  Rote  Singing.  Teach  the  master  song  "Greeting,"  page  218, 
"  Teachers'  Edition  for  Elementary  Grades." 

218.  Sight  Singing.    Give  a  review  by  oral  or  staff  dictation  of 
the  intervals  1-5,  8-3, 3-5,  and  7-5,  using  the  brief  melodic  phrases 
in  "  Melodic  Presentation  of  Intervals,"  §  884. 

With  any  pitch  from  Bb  to  },  as  1,  dictate  orally  and  from  the 
staff  the  interval  2-5  in  the  melodic  phrase  3  £>  _5  3  2  5  1. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  73-78. 

219.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  interpretation  of  "  Greeting." 


EIGHTH  WEEK 

220.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  good  tone  direction,  and  sing  Voice  Drill 
XXXII. 

221.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

222.  Sight  Singing.   With  any  pitch  from  Bb  to  c,  as  1,  dictate  interval  4-» 
orally  and  from  the  staff  the  interval  4-2  in  the  melodic  phrase 

1  1  2  3  4  2  3. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  79-84. 

NINTH  WEEK 

223.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  good  tone  direction.    Give  a  review  of 
Voice  Drill  XXXII. 

224.  Rote  Singing.    Teach  Rote  Song  XXXII,  "  Thanksgiving 
Day." 

225.  Sight  Singing.    With  any  pitch  from  §  to  c,  as  8,  dictate  interval  i-« 
orally  and  from  the  staff  the  interval  1-8  in  the  melodic  phrase 

8531878. 

Give  the  "Introductory  Sight-Singing  Melodies,"  Nos.  85-91. 

226.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Thanksgiving  Day." 


54  MUSIC  IN  THE  PUBLIC   SCHOOLS 

TENTH  WEEK 

227.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

228.  Rote    Singing.    Teach   the  master  song    "At  Twilight," 
page  220,  "  Teachers'  Edition  for  Elementary  Grades." 

229.  Sight    Singing.    Give    the    "  Introductory   Sight-Singing 
Melodies,"  Nos.  92-98. 

230.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "At  Twilight." 

ELEVENTH  WEEK 

231.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction,  and  sing  Voice 
Drill  XXXIII. 

232.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

Heretofore  the  teacher,  guided  by  the  dynamic  signs,  has 
directed  the  singing  of  the  song  and  exercise  melodies  accordingly. 
The  children  should  now  be  taught  a  few  of  these  signs,  such  as 
p,  pp,  and  should  observe  their  use  whenever  found. 

Dynamic  233.  Teach  the  dynamic  signs  p  and  pp  as  follows :  Direct  the 

children  to  sing  melody  No.  124  softly ;  then  call  attention  to  the 
sign  p,  and  to  its  position  near  the  beginning  and  above  the  staff. 
State  that  p  is  a  sign  which  shows  that  the  music  is  to  be  sung 
softly.  In  the  same  manner,  using  melody  No.  125,  teach  that 
pp  shows  that  the  music  is  to  be  sung  very  softly. 

interval  e-s  or  234.  Sight  Singing.  With  any  pitch  from  bb  to  f,  as  1,  dictate 
orally  and  from  the  staff  the  interval  6-8  or  &-1  in  the  melodic 
phrase  1  5  _6  1  7  2  i. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  99-106. 

Repeat  sign         235.   In  melody  No.  102  call  attention  to  the  repeat  sign  and  first 

and  first  and  jj-  j  ^    •      -,  -i  T    j      • 

second  end-     and  second  endings,  and  explain  how  the  melody  is  to  be  sung. 

TWELFTH  WEEK 

236.  Voice  Training.  Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction.  Give  a  review 
•of  Voice  Drill  XXXIII. 


SECOND  YEAR 


55 


237.  Rote   Singing.    Teach    Rote  Song  XXXIII,  "Christmas 
Day." 

238.  Sight  Singing.    Give  a  review  by  oral  or  staff  dictation  of 
the  interval  1-8,  using  the  phrase  in  "  Melodic  Presentation  of 
Intervals,"  §  884. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  107-114. 

239.  In  No.  112  call  the  attention  of  the  class  to  the  half  rest,  Half  r*«t 
and  explain  that  it  is  a  two-beat  silence  or  the  silence  of  a  Double 

Type  in  time  value. 

240.  The  Rhythmic  Quadruple  Type,  or,  as  it  is  briefly  called  in 
teaching,  the  Quadruple  Type,  is  a  four-beat  tone,  and  in  all  quarter 
measures  is  represented  by  a  whole  note,  thus :  a> 

From  four  Type  Ones  develop  the  four-beat  tone,  the  Quadruple 
Type,  as  follows : 

Represent  on  the  blackboard  four  Type  Ones  hi  the  following 
exercise : 


Ask  the  class  to  sing  them ;  then  tie  the  four  notes,  thus 


Ask  the  class  to  sing,  joining  the  four  tones  together,  and  at  the  Four-beat 
same  time  preserving  the  accent  on  each  beat,  thus : 


Do    -    o 


When  this  has  been  sung  correctly  inform  them  that  they  have 
sung  a  Quadruple  Type. 

Represent  it  on  the  blackboard,  thus : 


BE 


Quadruple 
Type  repre- 
sented by  <Z2 


Tell  the  class  that  this  note  represents  a  Quadruple  Type,  and 
is  a  whole  note. 


56 


MUSIC   IN  THE  PUBLIC   SCHOOLS 


241.  Rhythmic  Dictation.   Give  any  pitch,  as  eb,  and  any  syl- 
lable, as  do,  and  dictate  the  following  rhythmic  exercises : 

Quadruple  Type  twice. 

Double  Type  twice  and  a  Quadruple  Type. 

Type  One  four  times  and  a  Quadruple  Type,  etc. 

242.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Christmas  Day." 

THIKTEENTH  WEEK 

243.  Voice  Training.    Let  the  class  .  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

244.  Rote  Singing.    Teach  the  master  song  "  Land  0' Dreams," 
page  221,  "Teachers'  Edition  for  Elementary  Grades." 

interval  5-5  245.  Sight  Singing.  With  any  pitch  from  a  to  f,  as  1,  dictate 
orally  and  from  the  staff  the  interval  5—5  in  the  melodic  phrase 
5  3  i  J5  5  4  3. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  115-123. 

246.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Land  0' Dreams." 

FOURTEENTH  WEEK 

247.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

248.  Ask  the  class  to  pronounce  and  sing  o,  then  15,  ro,  pr5,  in 
the  same  manner  as  shown  in   §  186,  and  then  to  sing  Voice 
Drill  XXXIV. 

249.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

interval  6-4  250.  Sight  Singing.  With  any  pitch  from  g  to  c,  as  1,  dictate 
orally  and  from  the  staff  the  interval  6—4  in  the  melodic  phrase 

3345643. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  124-133. 

FIFTEENTH  WEEK 

251.  Voice  Training.  Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction.  Give  a  review 
of  Voice  Drill  XXXIV. 


Consonant 
combination 


SECOND  YEAR  57 

252.  Rote  Singing.    Teach  Rote  Song  XXXIV,  "A  Family 
Drum  Corps." 

253.  Sight  Singing.    With  any  pitch  from  &  to  f,  as  1,  dictate  interval  5-7 
orally  and  from  the  staff  the  interval  5-7  in  the  melodic  phrase 

i  i  7  2  5  7  i. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  134-144. 

254.  Musical    Interpretation.     By    suggestion   and   imitation 
teach  the  interpretation  of  "  A  Family  Drum  Corps." 

SIXTEENTH  WEEK 

'  255.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

256.  Rote  Singing.    Give  a  review  of  Eote  Song  XXVII,  "  Song 
of   the  Trees."    Teach  the  master  song  "  To  a  Star,"  page  229, 
"  Teachers'  Edition  for  Elementary  Grades." 

257.  Sight  Singing.    Teach  the  three-quarter  measure  as  follows:  Three-quarter 
Place  on  the  blackboard : 


Give  the  pitch  and  ask  the  class  to  sing  the  exercise,  using  the 
sol-fa  syllable,  do,  or  any  common  syllable,  as  loo,  and  accenting  all 
tones  equally  and  evenly.  Insert  bars  in  Exercise  a  and  it  becomes : 
b 


j    i=F= 

J — J=  ij 


Eequire  the  class  to  sing  Exercise  b,  accenting  all  tones  equally. 
Call  attention  to  the  three-quarter  notes  in  each  measure,  and 
insert  the  measure  signature  "  j|." 

258.  Review  the  two-quarter  measure  as  exemplified  in  melo- 
dies 38,  44,  48,  50,  56,  59,  62,  67,  70,  and  the  four-quarter  meas- 
ure as  exemplified  in  melodies  75,  79,  83,  86,  90,  95,  99,  102, 
and  compare  them  with  the  three-quarter  measure. 

259.  Musical  Interpretation.   By  suggestion  and  imitation  teach 
the  interpretation  of  "To  a  Star." 


Consonant 

combination 

H 


Interval  4-5 


Interval  4-7 


68  MUSIC  IN  THE  PUBLIC  SCHOOLS 

SEVENTEENTH  WEEK 

260.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

261.  Ask  the  class  to  pronounce  and  sing  6,  16,  b!6,  in  the  same 
manner  as  shown  in  §  186. 

Let  the  class  sing  Voice  Drill  XXXV. 

262.  Rote  Singing  and  Musical  Interpretation.    Let  the  class 
prepare  several  song  programmes  and  render  them.    For  sugges- 
tions see  §5  339,  340. 

00  y 

263.  Sight  Singing.   With  any  pitch  from  5t>  to  f,  as  1,  dictate 
orally  and  from  the  staff  the  interval  4-5  in  the  melodic  phrase 

5345721. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  145-150. 

EIGHTEENTH  WEEK 

264.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

265.  Rote  Singing.    Teach  the  master  song  "  Cradle    Song," 
page  234,  "  Teachers'  Edition  for  Elementary  Grades." 

266.  Sight    Singing.    Give   the    "  Introductory   Sight-Singing 
Melodies,"  Nos.  151-156. 

267.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Cradle  Song." 

NINETEENTH  WEEK 

268.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction.    Give  a  review 
of  Voice  Drill  XXXV. 

269.  Rote  Singing.    Teach  Rote  Song  XXXV,  "  Morning  Song." 

270.  Sight  Singing.    With  any  pitch  from  6b  to  f,  as  1,  dictate 
orally  and  from  the  staff  the  interval  4-7  in  the  melodic  phrase 
i  i  7  2  4  7  i. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  157-163. 

271.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Morning  Song." 


SECOND  YEAR  59 

TWENTIETH  WEEK 

272.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

273.  Rote  Singing  and  Musical  Interpretation.    Let  the  class 
prepare  several  song  programmes  and  render  them.   For  suggestions 
see  §§  339,  340. 

274.  Sight    Singing.    Give   the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  164-170. 

TWENTY-FIRST  WEEK 

275.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

276.  Rote  Singing.    Teach  the  master  song  "  Sweet  and  Low," 
page  238,  "  Teachers'  Edition  for  Elementary  Grades." 

277.  Sight  Singing.    With  any  pitch  from  6  to  c,  as  1,  dictate  interval »-« 
orally  and  from  the  staff  the  phrase  3345643. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  171-178. 
Call  attention  to  the  tie  in  melodies  174,  175,  176,  178,  and  The  tie 
illustrate  how  it  is  to  be  sung. 

278.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Sweet  and  Low." 

TWENTY-SECOND  WEEK 

279.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

280.  Ask  the  class  to  sing  6,  16,  glo,  in  the  same  manner  as  consonant 
shown  in  §  186,  and  then  to  sing  Voice  Drill  XXXVI.  gi 

281.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song. 

282.  Sight   Singing.    Give   the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  179-186. 

TWENTY-THIED   WEEK 

283.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction.   Give  a  review 
of  Voice  Drill  XXXVI. 


60  MUSIC   IN  THE  PUBLIC   SCHOOLS 

284.  Rote  Singing.  Teach  Rote  Song  XXXVI,  "  Our  School 
Flag." 

interval  6-3          285.  Sight  Singing.    With  any  pitch  from  g  to  c,  as  1,  dictate 
orally  and  from  the  staff  the  interval  6—3  in  the  melodic  phrase 

3563543. 

Give  a  review  of  any  introductory  melody  in  Part  II,  such  as 
Nos.  76,  80,  84,  88,  91,  etc. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  187-195. 

286.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Our  School  Flag." 

TWENTY-FOUETH    WEEK 

287.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

288.  Rote  Singing.    Teach  the  master  song  "  Spring,"  page  243, 
"  Teachers'  Edition  for  Elementary  Grades." 

289.  Sight  Singing.    Give  a  review  of  any  of  the  introductory 
melodies,  Part  I,  Chapter  II,  and  Part  II. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  196-205. 

290.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Spring." 

TWENTY-FIFTH  WEEK 

291.  Voice  Training.    Practice  Breathing  Exercise  III,  the  open 
throat,  and  good  tone  direction. 

consonant  292.  Ask  the  class  to  sing  o,  16,  flo,  in  the  same  manner  as  shown 

fl  in  §  186,  and  then  to  sing  Voice  Drill  XXXVII. 

293.  Rote  Singing  and  Musical  Interpretation.  Let  the  class 
prepare  several  sung  programmes  and  render  them.  For  sugges- 
tions see  §§  339,  340. 

interval  4-1          294.  Sight  Singing.    With  any  pitch  from  a  to  c,  as  1,  dictate 
orally  and  from  the  staff  the  interval  4—1  in  the  melodic  phrase 

1353413. 

Give  a  review  of  any  of  the  introductory  melodies,  Part  I, 
Chapter  II,  and  Part  II. 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  206-216. 


SECOND  YEAR  61 

TWENTY-SIXTH  WEEK 

295.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  good  tone  direction. 

296.  Rote  Singing.    Teach  the    master  song   "  Old    Folks  at 
Home,"  page  253,  "  Teachers'  Edition  for  Elementary  Grades." 

297.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  217-228. 

298.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  Old  Folks  at  Home." 

TWENTY-SEVENTH  WEEK 

299.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  good  tone  direction.    Give  a  review  of 
Voice  Drill  XXXVII. 

300.  Rote  Singing.    Teach    Rote  Song  XXXVII,  "May-Day 

Song." 

301.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  229-240. 

302.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  interpretation  of  "  May-Day  Song." 

303.  Teach  phrasing  as  follows  :  Phrasing 
Ask  the  class  to  repeat  the  words  of  exercise  melody  No.  240 ; 

notice  that  they  naturally  fall  into  two  groups,  or  lines,  of  which 
the  first  is  "  Evening  shades  are  falling,"  and  the  second  is 
"  Mother's  voice  is  calling."  Observe  that  the  melody  of  each  line 
naturally  follows  the  grouping  of  the  words.  This  division  of  a 
melody  into  its  natural  groups  is  called  phrasing,  each  phrase  being 
indicated  by  a  phrase  mark  above  the  staff.  Teach  the  children 
that  phrase  marks  are  used  to  divide  a  melody  as  punctuation 
marks  divide  a  sentence. 

Note  the  phrasing  in  other  melodies  as  they  are  sung. 

TWENTY-EIGHTH  WEEK 

304.  Voice    Training.    Let    the    children    practice    Breathing 
Exercise  III,  the  open  throat,  and  good  tone  direction. 


62  MUSIC  IN  THE  PUBLIC  SCHOOLS 

305.  Rote  Singing  and  Musical  Interpretation.    Let  the  class 
prepare  several  song  programmes  and  render  them.    For  sugges- 
tions see  §§  339,  340.    Give  a  review  of  phrasing. 

306.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  241-252. 

TWENTY-NINTH  WEEK 

307.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  good  tone  direction. 

308.  Rote   Singing.    Teach   the    master   song,    "The   Miller's 
Flowers,"  page  254,  "  Teachers'  Edition  for  Elementary  Grades." 

309.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  253-264. 

No.  262  of  "  Introductory  Sight-Singing  Melodies  "  is  the  be- 
ginning of  a  review  of  the  two-quarter,  four-quarter,  and  three- 
quarter  measure  melodies,  and  at  the  same  time  the  beginning  of 
melodies  arranged  in  pairs  to  harmonize  with  each  other.  After 
Nos.  262  and  263  have  been  sung  at  sight  until  memorized,  divide 
the  class  into  two  equal  divisions,  calling  one  Division  A  and  the 
other  Division  B.  Let  Division  A  sing  No.  262,  and  at  the  same 
time  Division  B  sing  No.  263.  Then  change  and  let  Division  B 
sing  No.  262  and  Division  A  sing  No.  263.  In  this  lesson  and 
those  following  proceed  in  like  manner  throughout  Chapter  IV  of 
Part  III,  "  Introductory  Sight-Singing  Melodies." 

Pitch  names         310.  In  the  first  year's  work  (§  72)  the  children  were  taught 
'    '    '    '     the  lines  and  spaces  of  the  staff.    In  a  similar  manner  now  teach 
them  the  pitch  names  of  the  lines  of  the  staff,  E,  G,  B,  D,  and  F, 
as  follows : 

On  the  blackboard  draw  a  line,  thus : 


Name  it  "  first  line  E."    Let  the  class  repeat. 
Add  another  line  above  the  first,  thus-: 

Name  it  "  second  line  G."    Let  the  class  repeat. 
Add  a  third  line  above  and  name  it  "third  line  B."    Let  the 
class  repeat.    Then  add  in  turn  the  fourth  and  fifth  lines  above 


SECOND  YEAR  63 

and  let  the  class  repeat  their  names,  "  fourth  line  D  "  and  "  fifth  line 
F."  Drill  the  class  until  they  become  thoroughly  familiar  with 
each  line,  its  number  and  letter,  as  "  fourth  line  D,"  "  second  line 
G,"  etc. 

311.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  The  Miller's  Flowers." 

Review  phrasing. 

THIRTIETH  WEEK 

312.  Voice  Training.    Practice  Breathing  Exercise  III,  the  open  consonant 
throat,  and  good  tone  direction.    Ask  the  class  to  sing  6,  r6,  gr6,  in  gr 

the  same  manner  as  given  in  §  186,  and  then  to  sing  Voice  Drill 
XXXVIII. 

313.  Rote  Singing  and  Musical  Interpretation.    Let  the  clai.8 
prepare  several  song  programmes  and  render  them.    For  sugges- 
tions see  §§  339,  340. 

314.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  265-276.    Give  a  review  of  the  pitch  names  of 
the  five  lines  of  the  staff. 

THIRTY-FIRST  WEEK 

315.  Voice  Training.    Let  the  class  practice  Breathing  Exercise 
III,  the  open  throat,  and  good  tone  direction.    Give  a  review  of 
Voice  Drill  XXXVIII. 

316.  Rote  Singing.    Teach  Eote  Song  XXXVIII,  "  The  Winged 
Flower." 

317.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  277-289. 

318.  Teach  the  pitch  names  of  the  spaces  of  the  staff,  F,  A,  C,  E,  pitch  names 

e  n  F,  A,  C,  E 

as  follows : 

On  the  blackboard  draw  a  complete  staff,  thus : 


Point  to  the  spaces  in  succession,  naming  them,  respectively : 
"  First  space  F" ;  the  class  repeats. 
"  Second  space  A  " ;  the  class  repeats. 


64  MUSIC  nsr  THE  PUBLIC  SCHOOLS 

"  Third  space  C  "  ;  the  class  repeats. 

"  Fourth  space  E  "  ;  the  class  repeats. 

Call  attention  to  the  fact  that  the  pitch  names  in  this  order 
spell  "  face."  Drill  the  class  until  they  are  thoroughly  familiar 
with  the  pitch  names  of  the  four  spaces,  always  associating  with 
each  space  its  number  and  letter,  as  "  first  space  F,"  "  third  space 
C,"  etc. 

319.  Musical  Interpretation.   By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  The  Winged  Flower." 

THIRTY-SECOND  WEEK 

320.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

321.  Rote    Singing.     Teach    the    master    song    "  A    Hymn," 
page  255,  "  Teachers'  Edition  for  Elementary  Grades." 

322.  Sight    Singing.    Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  290-302. 

323.  Musical  Interpretation.     By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  A  Hymn." 

THIRTY-THIRD  WEEK 

324.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

325.  Rote  Singing  and  Musical  Interpretation.    Give  a  review 
of  any  preceding  rote  song.    For  suggestions,  see  §§  339,  340. 

326.  Sight    Singing.     Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  303-315. 

Give  frequent  reviews  of  the  pitch  names. 

THIRTY-FOURTH  WEEK 

327.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

328.  Rote  Singing.    Teach  the  master  song  "  A  Pleasant  Voy- 
age," page  257,  "  Teachers'  Edition  for  Elementary  Grades." 

Three-eighth        329.  Sight  Singing.    Teach  the  three-eighth  measure  as  follows : 
Place  on  the  blackboard  the  following  exercise : 


SECOND  YEAR 


65 


NS^f-^-T" 

^=2=. 

• 

E^EEfel 

Give  the  pitch  and  ask  the  class' to  sing  this  exercise. 

Call  attention  to  the  fact  that  in  every  measure  studied  thus 
far  (\,  |,  |)  the  quarter  note  represents  Type  One. 

In  the  above  melody  attach  a  "flag"  or  hook  to  the  stem  of 
each  quarter  note,  change  the  last  note  head  to  a  quarter-note 
head,  and  substitute  "8"  for  "4"  in  the  time  signature.  Exer- 
cise a  thus  becomes : 


E 


JL  J|  |^-fc 


m 


m 


^i 


Kequire  the  class  to  sing  Exercise  b  in  the  same  manner  as  Type  one 
Exercise  a.    Tell  the  children  that  they  have  sung  jj  measure,  and  bvan 
that  in  |  measure  Type  One  is  represented  by  an  eighth'  note.          J  in  i 

330.  Place  on  the  blackboard  the  following  comparison : 


In 


measure 


In 


measure 


Type  One  is  represented  by      J  Type  One  is  represented  by    J^ 

Double  Type  is  represented  by  &  Double  Type  is  represented  by  J 

Triple  Type  is  represented  by  &  •  Triple  Type  is  represented  by  0  • 

Type  One  rest  is  represented  by  X  Type  One  rest  is  represented  by  i  Eighth  rest 

Give  the  "  Introductory  Sight-Singing  Melodies,"  Nos.  316-323. 
331.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  A  Pleasant  Voyage." 

Give  a  review  of  phrasing  and  the  dynamic  signs  p  and  pp. 


66  MUSIC  IN  THE  PUBLIC  SCHOOLS 

THIRTY-FIFTH  WEEK 

332.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

333.  Rote  Singing.    Teach  the  master  song  "The  Sea,"  page  260, 
"  Teachers'  Edition  for  Elementary  Grades." 

334.  Sight    Singing.     Give    the    "  Introductory    Sight-Singing 
Melodies,"  Nos.  324-333.    Give   frequent  reviews    of   the  pitch 
names. 

335.  Musical  Interpretation.    By  suggestion  and  imitation  teach 
the  musical  interpretation  of  "  The  Sea."    Give  a  review  of  phras- 
ing and  the  dynamic  signs  p  and  pp. 

THIRTY-SIXTH  WEEK 

336.  Voice  Training.    Let  the  class  practice  Breathing  Exer- 
cise III,  the  open  throat,  and  good  tone  direction. 

337.  Sight  Singing.    Give  a  review  of  any  of  the  preceding 
introductory  sight-singing  melodies. 

338.  Musical  Interpretation.    Let  the  class  prepare  several  song 
programmes  and  render  them. 

SECOND- YEAR  SONG  PROGRAMMES 

The  following  song  programmes,  compiled  from  the  "  Teachers' 
Edition  for  Elementary  Grades,"  and  representing  this  year's  work, 
are  suggested : 

339. 

1.  "  Good  Morning  " Niels  W.  Gade 

Page  217 

2.  "At  Twilight" Joseph  Barnby 

Page  220 

8.  "The  Little  Soldier" Weber 

Page  39 

4.  "To  a  Star" Rubinstein 

Page  229 

5.  "October" C.B.Edmunds 

Page  38 

340. 

1.  "Morning  Song" W.  W.  Gilchrist 

Page  45 

2.  "Greeting" Mendelssohn 

Page  218 


SECOND  YEAR  67 

3.  "  Christmas  Day  " Peter  Cornelius 

Page  42 

4.  "  A  Family  Drum  Corps  " Fannie  S.  Knowlton 

Page  43 

5.  "  Our  School  Flag  " H.Gilbert 

Page  46 

341.  The  following  are  suggested  lesson  programmes  for  any 
week  of  the  second  year,  as,  for  example,  the  sixth  week,  §§  208- 
215. 

MONDAY 

1.  Let  the  class  practice  Breathing  Exercise  III,  §  129. 

2.  Give  a  review  of  Rote  Song  XIX,  "Morning  Song." 

3.  With  open  throat  and  good  tone  direction  let  the  class  practice  the 

exercise,  §  182,  and  Voice  Drill  XXXI,a. 

4.  Teach  one  stanza  of  Rote  Song  XXXI,  "The  Little  Soldier." 

5.  Give  a  review  of  the  "Introductory  Sight-Singing  Melodies,"  Nos. 

57-61. 

NOTE.  It  must  be  borne  in  mind  that  these  lesson  programmes  are  simply 
suggested,  and  that  no  attempt  is  being  made  to  deprive  the  teacher  of  her 
individuality.  Circumstances  may  arise  in  which  it  becomes  necessary  for  her 
to  discard  the  regular  programme  and  spend  the  entire  lesson  on  some  one 
feature  in  which  the  class  is  deficient.  Any  good  lesson  programme  is  most 
effective  when  the  special  needs  and  mental  condition  of  the  class  are  thoroughly 
considered. 

TUESDAY 

1.  Let  the  class  practice  Breathing  Exercise  III. 

2.  Give  a  review  of  Rote  Song  XXXI,  "The  Little  Soldier." 

3.  Let  the  class  sing  Voice  Drill  XXXI,  a. 

4.  Teach  the  musical  interpretation  of  "The  Little  Soldier." 

5.  Give  a  review  of  the  "Introductory  Sight-Singing  Melodies,"  Nos. 

62-60. 

WEDNESDAY 

1.  Let  the  class  practice  Breathing  Exercise  III. 

2.  Let  the  class  sing  Voice  Drill  XXXI. 

3.  Teach  the  last  stanza  and  complete  the  musical  interpretation  of 

Rote  Song  XXXI,  "The  Little  Soldier." 

4.  Give  the  oral  dictation  of  any  review  intervals. 

5.  Give  a  review  of  the  "Introductory  Sight-Singing  Melodies,"  Nos. 

67-72. 


68  MUSIC  IN  THE  PUBLIC   SCHOOLS 

THURSDAY 

1.  Let  the  class  practice  Breathing  Exercise  III. 

2.  Let  the  class  sing  the  exercise  in  §  182  and  Voice  Drill  XXXI,a. 

3.  Let  the  class  sing  Rote  Song  XIX,  "Morning  Song." 

4.  Give  a  rhythmic  dictation  of  Type  One  and  the  Double  Type. 

5.  Develop  and  give  the  blackboard  exercise  on  the  Triple  Type,  §§211, 

212. 

FRIDAY 

1.  Let  the  class  practice  Breathing  Exercise  III. 

2.  Let  the  class  sing  the  exercise  in  §  182  and  Voice  Drill  XXXI,  a. 

3.  Let  the  class  sing  Rote  Song  XIX,  "Morning  Song." 

4.  Teach  |  measure,  §§  213,  214. 

5.  Let  the  class  musically  interpret  "  The  Little  Soldier. 


THIRD   YEAR 

SYNOPSIS 
Voice  Training 

The  remaining  vowel  sounds,  ou  and  6,  348  ;  u  and  a,  382  ;  I  and  e,  403  ;  & 
and  u,  424  ;  I  and  g,  447  ;  do  and  oy,  468. 

Consonant  sounds.  Final  consonants  and  consonant  combinations,  t  and  a, 
348  ;  sh  and  ves,  382  ;  sed,  424  ;  n  and  Id,  403  ;  ght,  447;  ds,  468. 

The  blending  of  registers,  371.    Voice  Drill  XXXIX,  a. 

Vocalization  of  songs,  exercise  melodies,  and  voice  drills. 

Rote  Singing 

Rote  songs  and  master  songs. 

Sight  Singing 

Tune.  The  oral  and  staff  dictation  in  melodic  progression  of  fourteen 
additional  skips,  which  are  the  infrequent  intervals  :  8-4,  2-8,  1-6,  3-7, 
1_7,  5-6,  4-6,  4-7,  2-6,  2-6,  6-7,  3-6,  3-7,  and  2-7,  351-476. 

The  same  ground  is  covered  by  material  for  sight  singing,  each  skip 
being  introduced  in  different  keys  by  local  preparation. 

Time.  The  three  groups  used  in  |  measure,  represented  by 

*  •  ,       J    J    J  ,       j     0    ,   356-365. 
|  measure,  368. 

Musical  Interpretation 

The  breath  mark,  346. 

Tempo,  353.    Terms  of  expression  indicating  even  tempo,  370-485. 

By  suggestive  questioning  the  musical  interpretation  of  all  material  in 
this  year's  work,  346. 

Musical  Conceptions 

The  more  general  melodic  characteristics  of  noted  composers  are  intro- 
duced in  simple  songs  and  exercise  melodies. 

There  is  also  introduced  a  musical  representation  of  seven  nationalities  : 
German,  French,  Italian,  English,  Polish,  Russian,  and  American,  includ- 
ing fifty  composers,  the  more  important  of  whom  are  Mrs.  H.  H.  A.  Beach, 
Carl  Bohm,  Frederic  Field  Bullard,  Chopin,  J.  W.  Elliott,  Franz,  Dr.  G. 
M.  Garrett,  W.  W.  Gilchrist,  Henry  K.  Hadley,  Henry  Holden  Huss,  Clay- 
ton Johns,  Isidora  Martinez,  Mendelssohn  M.  Moszkowski,  Carl  Reinecke, 

69 


70  MUSIC  IN  THE  PUBLIC  SCHOOLS 

Rubinstein,  Schumann,  and  W.  Taubert ;  and  thirty-one  poets  in  song,  the 
more  important  of  whom  are  Abbie  Farwell  Brown,  Nathan  Haskell  Dole, 
Louis  C.  Elsoii,  S.  Baring-Gould,  Thomas  Hood,  Jean  Ingelow,  Agnes  Lee, 
T.  D.  Miller,  Gabriel  Setoun,  Frank  Dempster  Sherman,  Alexander  Smart, 
Stevenson,  Swift,  John  B.  Tabb,  Jane  Taylor,  Thackeray,  M.  E.  Tupper, 
Edna  Kingsley  Wallace,  and  John  G.  Watts. 
Suggested  song  programmes,  486-490. 

Material 

For  pupils'  use,  "First  Reader,"  pages  1-45,  for  voice  training,  sight 
singing,  musical  interpretation,  and  musical  conceptions. 

For  teachers'  use,  "Music  in  the  Public  Schools  "  and  the  "Teachers' 
Edition  for  Elementary  Grades,"  for  voice  training,  rote  songs,  eight  master 
songs,  and  piano  accompaniments. 


THIRD   YEAR 

PLAN  FOR  THIRTY-SIX  WEEKS'  WORK 
FIRST  WEEK 

342.  While  each  weekly  programme  is  here  given  under  separate 
subject  headings,  yet  it  must  be  borne  in  mind  that  these  subjects 
should  not  always  be  taught  separately.    No  song,  whether  taught 
by  rote  or  by  sight,  is  to  be  considered  finished  until  it  has  been 
musically  interpreted,  and  good  musical  interpretation  cannot  be 
gained  without  proper  voice  training. 

343.  Voice  Training.    In  all  lessons  from  now  on  let  the  chil- 
dren sing  their  voice  drills,  exercise  melodies,  and  songs  with  good 
breath  support,  an  open  throat,  and  good  tone  direction.    Insist  on 
soft  singing  and  correct  enunciation,  and  do  not  allow  the  class  to 
force  the  chest  tones  upward  into  the  region  of  the  head  voice. 

344.  Rote    Singing.    Musically   interpret   any   preceding    rote 
song. 

345.  Sight  Singing.    Give  a  review  by  oral  or  staff  dictation  of 
the  intervals  5-3,  1-3,  7-5,  and  5-8,  using  respectively  the  follow- 
ing brief  melodic  progressions:  3553,     1331,     578875s, 
8558. 

Place  the  "  First  Reader  "  in  the  hands  of  the  children  and  give 
Nos.  1-6. 

346.  Musical  Interpretation.    During  this  year's  work  teach  the  By  suggestive 

.  ....        questioning 

musical  interpretation  of  each  song  by  suggestive  questioning,  i.e. 
ask  such  questions  about  the  poem  and  the  music  of  the  song  as 
will  elicit  answers  determining  the  proper  dynamics,  tempo,  and 
the  emotion  to  be  expressed. 

Give  a  review  of  phrasing.  In  the  exercise  melodies  phrasing  is 
indicated  by  phrase  marks.  In  the  songs  breath  marks  or  rests 
indicate  the  division  into  phrases. 

71 


72 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


SECOND  WEEK 

347.  Voice  Training.    Let  the  class  sing  Voice  Drill  XXXIX,  a, 
observing  carefully  its  dynamic  signs.    This  voice  drill  is  to  be 
used  every  day,  and  may  be  sung  in  C,  D,  E,  and  Et>. 

348.  Teach  the  vowel  sounds  ou  and  6,  and  the  final  consonants 

and  c.   Let  the 


Vowel  sounds 

Final  conso-    t  and  s,  as  they  are  given  in  Voice  Drill  XXXIX, 
8t>  8        class  sing  Voice  Drill  XXXIX,  d. 


Interval  6-a 


Term  of  ex- 
pression 
tempo 


349.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  song.  , 

350.  Sight  Singing.    Give  a  review  by  oral  or  staff  dictation  of 
the  intervals  2-5,  7-2,  2-4,  8-3,  and  4-6,  using  respectively  the 
following  brief  melodic  progressions  : 

523325s,     882772s, 
n2442i,    8338,    334664s. 

351.  With  any  pitch  from  I  to  f,  as  1,  dictate  orally  and  from 
the  staff  the  interval  6-2  in  the  melodic  phrase  3  5  6  2  i  7  i. 

Give  the  "  First  Header,"  Nos.  7-12. 

352.  Musical  Interpretation.    Give  a  review  of  phrasing,  §  303. 
Teach  by  suggestive  questioning  the  musical  interpretation  of  the 
sight  songs  in  this  week's  work. 

353.  Teach  tempo  as  "  the  rate  of  speed  at  which  a  song  is 
sung."    Illustrate  different  kinds  of  tempo. 

THIRD  WEEK 

354.  Rote  Singing.    Teach  Rote  Song  XXXIX,  "  Nightfall." 

355.  Sight  Singing.    Give  a  review  by  oral  or  staff  dictation  of 
the  intervals  2—5,  8—3,  and  6—8,  using  respectively  the  following 
brief  melodic  progressions : 

528825s,   8338, 

85688658. 

Give  the  "  First  Reader,"  Nos.  13-18. 

356.  The  Rhythmic  Group  Beat  Three,  or,  as  it  is  briefly  called 
in  teaching,  Group  Three,  consists  of  three  equal  tones  to  the  beat 
of  any  measure  in  compound  time,  such  as  |  measure,  and  is  repre- 
sented by  three  eighth  notes,  thus :  *'   J   4 

357.  Teach  Group  Three  by  imitation  as  follows : 


THIRD  YEAR 


73 


On  any  pitch,  as  eb,  and  with  any  syllable,  as  do,  in  exact  time, 
sing  for  the  class  four  tones,  metronome  about  69,  accenting  all 
tones  equally,  thus : 


Do 


~9-r 

do 


3=^1 


do 


do 


Ask  the  class  to  imitate  it. 

With  the  same  pitch,  syllable,  and  tempo,  and  the  same  number 
of  beats,  sing  for  the  class  three  tones  to  the  group  beat,  accenting 
the  first  tone  only  of  each  group  beat,  thus : 


j^gsg 


Do     do     do 


do     do    do         do    do     do 


do     do    do 


Ask  the  class  to  imitate  it,  and  insist  that  it  be  sung  in  exact 
time,  and  that  the  first  tone  of  each  group  beat  be  accented.  When 
this  has  been  done  correctly,  inform  the  class  that  each  do  do  do 
is  a  group  beat  and  is  called  Group  Three. 

Eepresent  Group  Three  in  the  same  exercise  on  the  blackboard,  croup  Three 

.,  represented 

thus :  by 

JJJ 


Tell  the  class  that  each  group  represents  Group  Three  and  con- 
sists of  three  eighth  notes. 

Give  the  pitch  of  el?  and  ask  the  class  to  sing  the  scale  down- 
ward with  Group  Three  for  each  tone,  using  the  sol-fa  syllables,  or 
any  common  syllable,  as  loo.  As  they  near  the  end  of  the  exercise 
do  not  allow  them  to  hasten  the  tempo. 

When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus: 
b 


74  MUSIC  IN  THE  PUBLIC   SCHOOLS 

Let  the  class  sing  Exercises  a  and  b  from  the  blackboard  until 
the  steady  and  regular  succession  of  Group  Threes  has  become 
familiar  to  them. 

358.  Musical  Interpretation.    Give  a  review  of  the    dynamic 
signs  p  and  pp.    Teach  by  suggestive  questioning  the  musical  inter- 
pretation of  "  Nightfall  "  and  of  the  sight  songs  in  this  week's  work. 

FOURTH  WEEK 

359.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  song. 

360.  Sight  Singing.    Give  a  review  of  the  frequent  intervals  as 
they  occur  in  the  exercise  melodies  and  songs.    For  dictation  of 
these  intervals  see  "  Melodic  Presentation  of   Intervals,"   Daily 
Dictation  of  Skips,  §  884. 

Give  the  "  First  Eeader,"  Nos.  19-23. 

361.  The  Rhythmic  Group  Beat  Two,  or,  as  it  is  briefly  called 
in  teaching,  Group  Two,  consists  of  two  unequal  tones  to  the  beat 
of  any  measure  in  compound  time,  such  as  ^  measure,  and  is  repre- 
sented by  a  quarter  note  followed  by  an  eighth  note,  thus :   J  «T 

362.  From  Group  Three  develop  Group  Two  as  follows : 
Represent  on  the  blackboard  Group  Three,  thus : 


Ask  the  class  to  sing  it ;  then  tie  the  first  two  notes,  thus : 


Ask  the  class  to  sing  it,  joining  the  first  two  tones  together,  thus : 
Do    -    o        do 

• 

When  this  has  been  sung  correctly  tell  them  that  they  have 
J  J       sung  Group  Two. 


THIRD  YEAR 


75 


Represent  it  on  the  blackboard,  thus : 


Tell  the  class  that  these  notes  represent  Group  Two,  and  are  a 
quarter  note  and  an  eighth  note. 

Give  the  pitch  of  Sb  and  ask  the  class  to  sing  the  scale  down- 
ward with  Group  Two  for  each  tone,  using  the  sol-fa  syllables,  or 
any  common  syllable,  as  loo.  As  they  near  the  end  of  the  exercise 
do  not  allow  them  to  hasten  the  tempo. 

When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus : 

±     *    •_ 


J   J  j 


Let  the  class  sing  this  exercise  from  the  blackboard  until  the 
regular  succession  of  Group  Twos  has  become  familiar  to  them. 

363.  Musical  Interpretation.  Give  a  review  of  the  dynamic 
signs  p  and  pp.  Teach  by  suggestive  questioning  the  musical  in- 
terpretation of  the  sight  songs  in  this  week's  work. 


FIFTH  WEEK 


The 


364.  Rote  Singing.    Give  a  review  of  Rote  Song  XIII, 
Dream  Man." 

365.  Sight  Singing.    The  Rhythmic  Group  Beat  One,  or,  as  it  is 
briefly  called  in  teaching,  Group  One,  is  a  one-beat  tone  of  any 
measure  of  compound  time,  such  as  ^  measure,  and  is  represented 

by  a  dotted  quarter  note,  thus  :  J> 

From  Group  Three  develop  Group  One  as  follows : 
Represent  on  the  blackboard  Group  Three,  thus : 

i= 


Ask  the  class  to  sing  it ;  then  tie  the  three  notes,  thus : 


76  MUSIC  IN  THE  PUBLIC   SCHOOLS 

Ask  the  class  to  sing,  joining  the  three  tones  together,  thus : 


m 


Do    -    o 


Group  one          When  this  has  been  sung  correctly  tell  them  that  they  have 

represented  J      .  J 

by  sung  Group  One. 

Eepresent  it  on  the  blackboard,  thus : 


Tell  the  class  that  this  note  represents  Group  One,  and  is  a 
dotted  quarter  note. 

Give  the  pitch  of  ib  and  ask  the  class  to  sing  the  scale  down- 
ward with  Group  One,  using  the  sol-fa  syllables,  or  any  common 
syllable,  as  loo.  As  they  near  the  end  of  the  exercise  do  not  allow 
them  to  hasten  the  tempo. 

When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus : 

± 


rtzxpc^: 
&= 


366.  Let  the  class  sing  the  folio  whig  exercise  from  the  black- 
board : 


Let  the  class  sing  the  following  exercise  from  the  blackboard : 


i  ~H 

J.di 


Let  the  class  sing  these  two  exercises  from  the  blackboard  until 
the  three  groups  have  become  familiar. 

367.  Rhythmic  Dictation.  Give  any  pitch,  as  6b,  and  any  syl- 
lable,  as  do,  and  dictate  the  following  rhythmic  exercises : 

Group  Three  twice,  Group  Two,  and  Group  One. 


THIRD  YEAR 


77 


Group  Three,  Group  Two,  Group  Three,  and  Group  One. 
Group  Two  twice,  Group  Three,  and  Group  One. 
Group  One  twice,  Group  Three,  and  Group  One. 
Group  One,  Group  Three  twice,  and  Group  One,  etc. 
Place  the  following  exercises  on  the  blackboard,  give  the  pitch 
of  f,  and  ask  the  class  to  sing  them.    Do  not  point  to  the  notes. 


J 


JT3   J 


J 

j  . 
j  . 


J  . 


j 


J. 


J  . 

j  . 


368.  Place  on  the  blackboard  and  ask  the  class  to  sing,  accent- 
ing the  first  tone  of  each  group  beat. 


n     I 


Insert  bars  and  the  time  signature,  |,  and  the  above  exercise  6mea8ure 
is  divided  into  measures,  thus : 
b 


jg      |         111 
¥=+-+±2 


Require  the  class  to  sing  Exercise  b  in  the  same  manner  as 
Exercise  a. 

Introduce  eighth  rests  and  a  tie  in  Exercise  I  and  it  becomes 


[          f 

•  J        J 


Ask  the  class  to  sing  it,  and  insist  that  the  second  group  in  the 
last  measure  be  accented. 

369.  Copy  on  the  blackboard  the  following  exercise  melodies  in 
\  measure  and  require  the  class  to  sing  them.  Do  not  point  to 
the  notes. 


78 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


Term  of 


From  this  time  on  drill  the  class  on  Group  One,  Group  Two, 
and  Group  Three,  §§  933,  934,  935,  and  951,  whenever  necessary. 

370.  Musical  Interpretation.  Teach  the  term  moderate,  "mod- 
erate  rate  of  speed."  For  an  illustration  refer  the  class  to  the 
"  First  Header,"  Nos.  9  and  20,  and  for  the  definition  to  the 
"  First  Eeader,"  page  120. 


Blending 
of  registers 


SIXTH  WEEK 

371.  Voice  Training.  Teach  the  blending  of  registers  as  follows : 
Give  the  pitch  of  §b  and  ask  the  class  to  sing  a  long  tone  softly, 
using  the  syllable  oo.  Insist  that  they  sing  this  tone  with  good 
breath  support  and  open  throat  and  good  tone  direction.  When 
they  have  produced  a  pure,  soft  head  tone,  let  them  sing  down  the 
scale  one  tone  at  a  time  and  back  again,  thus : 


THIRD  YEAR  79 

When  Bb  has  been  reached,  the  children  should  take  care  to 
keep  the  quality  of  the  voice  as  much  like  the  upper  tones  as  pos- 
sible. Ask  the  class  to  sing  softly 

:b= 


in  pure  head  tones,  and  on  reaching  fib  to  broaden  and  strengthen 
the  tone  as  much  as  possible  without  changing  the  quality,  using 
syllables  oo,  o",  a,  thus : 

±==±= 


oo  -  0  -  a 

Then  let  them  sing  on  the  pitch  of  g  in  the  same  manner,  then 
f,  and  then  6b.  Proceed  in  the  same  manner  with  the  scales  of  D 
and  C. 

372.  The  most  troublesome  tones  of  the  child's  voice  at  this 
time  are  below  the  pitch  of  a,  where  there  is  a  roughness  or  coarse- 
ness, to  eradicate  which  needs  careful  treatment.    Previous  work 
in  the  upper  voice  will  have  influenced  this  lower  register. 

373.  In  this  work  of  blending  the  registers  the  vowel  sounds 
oo,  5,  a,  and  e  should  be  used  first ;  then  other  vowel  sounds  may 
be  used.  All  vowels  should  be  carefully  practiced  until  they  are 
sung  equally  well. 

374.  Rote  Singing.    Omit  entirely  or  give  a  review  of  the  pre- 
ceding rote  or  master  songs. 

375.  Sight  Singing.    With  any  pitch  from  c  to  a,  as  1,  dictate  interval  e-i 
orally  and  from  the  staff  the  interval  6—1  in  the  melodic  phrase 

1356123. 

376.  Give  a  review  of  Group  One,  Group  Two,  and  Group 
Three,  for  which  see  §  951. 

Give  the  "  First  Reader,"  Nos.  24-28. 

377.  Musical  Interpretation.    Give  a  review  of  phrasing  and  of 
the  dynamic  terms  p  and  pp. 

Teach  by  suggestive  questioning  the  musical  interpretation  of 
this  week's  sight  songs. 


80  MUSIC  IN  THE  PUBLIC  SCHOOLS 

SEVENTH  WEEK 

378.  Voice  Training.    Give  a  review  of  the  blending  of  registers, 
§§  371-373. 

379.  Rote  Singing.  Teach  the  master  song  "Eventide,"  page  224, 
"  Teachers'  Edition  for  Elementary  Grades." 

380.  Sight  Singing.    Give  the  "  First  Eeader,"  Nos.  29-35. 

381.  Musical  Interpretation.    Give  a  review  of  phrasing  and  of 
the  dynamic  terms  p  and  pp. 

Teach  by  suggestive  questioning  the  musical  interpretation  of 
"  Eventide  "  and  this  week's  sight  songs. 

EIGHTH  WEEK 

vowel  sounds      382.  Voice  Training.    Teach  the  vowel  sounds  tt  and  a,  and  the 
Final  consp-     final    consonant  combinations   sh  and  ves  as    they  are  given  in 

nantcombina-  1 

tions  sh,  v«s    Voice  Drill  XL. 

383.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  song. 

intervals  384.  Sight  Singing.    With  any  pitch  from  f  to  bt>,  as  1,  dictate 

orally  and  from  the  staff  the  intervals  7—3  and  fj— 4,  using  respec- 
tively the  melodic  phrases,  3  2  i  7  3  2  i  and  5564321. 

Give  the  "  First  Reader,"  Nos.  36-41. 

HOW,  o  385.  In   melody  No.  39  call  attention  to  the  hold   (-T*)  and 

explain  its  use. 

386.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

NINTH  WEEK 

387.  Rote  Singing.  Teach  Eote  Song  XL,  "  Gaelic  Lullaby." 

388.  Sight  Singing.    Give  the  "  First  Reader,"  Nos.  42-46. 

389.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  "Gaelic  Lullaby"  and  this  week's 
sight  songs.    Give  a  review  of  phrasing,  dynamic  signs  p  and  pp, 
and  tempo. 

TENTH  WEEK 

390.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 


THIRD  YEAR 


81 


391.  Sight  Singing.    Give  the  "  First  Reader,"  Nos.  47-51. 

392.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

393.  Teach  the  term  allegretto,  "rather  fast."    For  illustration  Term  of 

expression 

refer  the  class  to  the  "  First  Reader,"  No.  51,  and  for  the  definition  allegretto 
to  the  "  First  Reader,"  page  120. 

ELEVENTH  WEEK 

394.  Rote  Singing  and  Musical  Interpretation.  Teach  the  master 
song  "  Winter  Cradle  Song,"  page  227,  "  Teachers'  Edition  for  Ele- 
mentary Grades,"  and  by  suggestive  questioning  teach  the  musical 
interpretation  of  it. 

395.  From  the  master  songs,  rote  songs,  and  sight  songs  let  the 
class  arrange  several  song  programmes  and  render  them.    For  sug- 
gestions see  §§  486—490. 

396.  Sight  Singing.    Give  a  review  of  Group  One,  Group  Two, 
and  Group  Three. 

397.  Place  the  following  exercises  on  the  blackboard  and  ask 
the  class  to  sing  them : 


Explain  to  the  class  that  in  Exercise  c  the  eighth  note  before 
the  first  bar  represents  the  last  tone  of  Group  Two. 

TWELFTH  WEEK 

398.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

399.  Sight  Singing.    Give  a  review  of  the  three  groups. 
Give  the  "  First  Reader,"  Nos.  52-56. 


82 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


Vowel  r 
sounds  1,0. 
Final  conso- 
nants n,  Id 


Whole  rest 


400.  Musical  Interpretation.    Give  a  review  of  phrasing,  the 
dynamic  signs  p  and  pp,  and  the  terms  tempo,  moderate,  and  alle- 
gretto.  Teach  by  suggestive  questioning  the  musical  interpretation 
of  this  week's  sight  songs. 

THIRTEENTH  WEEK 

401.  Rote    Singing    and    Musical    Interpretation.    Teach   the 
master  song  "  Song  of  the  March  Wind,"  page  230,  "  Teachers' 
Edition  for  Elementary  Grades,"  and  the  musical  interpretation  of 
it  and  of  this  week's  sight  songs. 

402.  Sight  Singing.    Give  the  "  First  Eeader,"  Nos.  57-63. 

FOURTEENTH  WEEK 

403.  Voice  Training.    Teach  the  vowel  sounds  I  and  e  and  the 
final  consonants  n  and  Id  as  they  are  given  in  Voice  Drill  XLI. 

404.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

405.  Sight  Singing.    Give  the  "  First  Reader,"  Nos.  64-68. 

406.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

FIFTEENTH  WEEK 

407.  Rote  Singing.    Teach  Eote  Song  XLI,  "  Fairy  Frost." 

408.  Sight  Singing.    Give  the  "  First  Eeader,"  Nos.  69-73. 

409.  Explain  the  whole  rest  in  No.  69  as  a  Quadruple  Type 
silence. 

410.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  "  Fairy  Frost "  and  of  this  week's 
sight  songs. 

SIXTEENTH  WEEK 

411.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

412.  Sight  Singing.    Give  the  "  First  Eeader,"  Nos.  74-77. 

413.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  the  sight  songs. 


THIRD  YEAR  83 

414.  Teach  the  term  allegro,  "fast."    For  illustration  refer  the  Term  of 
class  to  the  "  First  Reader,"  No.  74,  and  for  the  definition  to  the  allegro 
"  First  Reader,"  page  120. 

SEVENTEENTH  WEEK 

415.  Rote  Singing.    Teach  the  master  song  "  When  the  Chil- 
dren Go,"  page  236,  "  Teachers'  Edition  for  Elementary  Grades." 

416.  Sight  Singing.    With  any  pitch  from  f  to  C,  as  1,  dictate  interval  g-3 
orally  and  from  the  staff  the  interval  6-3  in  the  melodic  phrase 

3  i  6  3  7  i  6. 

Give  the  "  First  Reader,"  Nos.  78-86. 

417.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  "  When  the  Children  Go  "  and  of  this 
week's  sight  songs. 

EIGHTEENTH  WEEK 

418.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

419.  Sight  Singing.    Give  the  "  First  Reader,"  Nos.  87-94. 

420.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

NINETEENTH  WEEK 

421.  Rote    Singing.    Teach  the  master  song  "  In  One  Year," 
page  224,  "  Teachers'  Edition  for  Elementary  Grades." 

422.  Sight  Singing.    Give  the  "First  Reader,"  Nos.  95-101. 

423.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  "  In  One  Year  "  and  of  this  week's 
sight  songs. 

Give  a  review  of  phrasing,  the  dynamic  signs  p  and  pp,  and  the 
terms  used  to  express  tempo,  —  moderate,  allegretto,  and  allegro. 

TWENTIETH  WEEK 

424.  Voice  Training.    Teach  the  vowel  sounds  ft  and  u  and  the  vowel 
final    consonant    combination    sed   as    they    are   given   in    Voice  Final  con'to- 

-T.    ...   VTTT  nantcombi- 

Drill  XLII.  nation  sed 


84  MUSIC  IN  THE  PUBLIC  SCHOOLS 

425.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

426.  Sight  Singing.  Give  a  general  review. 

427.  Teach  the  class  how  to  find  do  from  any  signature,  as 
follows : 

sharp  g  Illustrate  on  the  blackboard  a  sharp,  thus  :  § 

Fiatb  Name  it  "  a  sharp,"  and  likewise  illustrate  and  name  a  flat. 

Key  signature       Tell  the  class  that  a  key  signature  is  the  sign  at  the  beginning 

of  a  staff,  consisting  of  one  or  more  sharps  or  flats,  and  that  it 

shows  where  do  is. 

Teach  the  sentence  "  Good  Deeds  Are  Ever  Bearing  Fruit." 
Finding  do  Let  the  class  memorize  these  facts  about  this  sentence,  namely : 

sharp*"3         the  first  word  begins  with  G,  the  second  word  begins  with  D, 

the  third  word  begins  with  A,  the  fourth  word  begins  with  E, 

and  so  on. 
Finding  do  Tell  the  class  that  when  there  is  one  sharp  in  the  signature  do 

from  any  flat  -,••,-, 

signature  is  on  G,  the  initial  letter  of  the  first  word  in  the  above  sentence ; 
when  there  are  two  sharps  in  the  signature  do  is  on  D,  the  initial 
letter  of  the  second  word ;  when  there  are  three  sharps  in  the  sig- 
nature do  is  on  A ;  when  there  are  four  sharps  in  the  signature  do 
is  on  E,  and  so  on. 

Teach  the  class  that  when  the  signature  consists  of  one  or  more 
flats  do  is  found  as  follows :  first,  subtract  the  number  of  flats  in 
the  signature  from  seven ;  second,  let  the  remainder  represent  so 
many  sharps  for  the  signature ;  then  find  do  by  the  plan  given 
above  for  sharps. 

Let  the  class  remember  that  when  the  signature  is  seven  sharps 
or  seven  flats,  or  when  there  is  110  signature,  do  is  on  the  C  line 
or  space. 

Drill  the  class  thoroughly  on  finding  do  from  any  signature. 
Keys  428.1  Tell  the  class  that  each  key  takes  its  name  from  the  loca- 

tion of  do ;  for  example,  if  do  is  on  G,  the  key  is  the  key  of  G ;  if  on 
A,  the  key  of  A,  and  so  on. 

Let  the  class  remember  that  of  the  sharp  keys  F  and  C  only 
have  a  sharp  appended  to  the  key  name,  thus  F$  and  Cjf ;  of  the 
flat  keys  all  have  a  flat  appended  except  F. 

1  Many  defer  §  128  to  the  fourth  year. 


THIRD  YEAR  85 

429.  Another  way  of  teaching  the  class  to  locate  do  is  to  give 
them  these  two  rules,  namely : 

Rule  for  sharp  signatures.  The  sharp  nearest  the  time  signa- 
ture is  always  ti ;  therefore  do  will  be  the  first  staff  degree  above  it. 

Rule  for  flat  signatures.  The  flat  nearest  the  time  signature  is 
always  fa ;  therefore  do  will  be  the  third  staff  degree  below  it. 

430.  Musical  Interpretation.    Work  on  the  musical  interpreta- 
tion of  preceding  sight  songs.     Let  the  class  arrange  from  the 
preceding  work  several  song  programmes  and  render  them.    For 
suggestions  see  §§  486-490. 

431.  Teach  the  term  andantino,  "rather  slow."    For  illustra-  Term  of 
tions  refer  the  class  to  the  "  First  Reader,"  Nos.  15  and  56,  and  andantin 
for  the  definition  refer  them  to  the  "  First  Reader,"  page  120. 

TWENTY-FIRST  WEEK 

432.  Rote  Singing.    Teach  Rote  Song  XLII,  "  Song  Story  —  The 
Champion  Juniper." 

433.  Sight  Singing.    Give  the  "First  Reader,"  Nos.  102-107. 

434.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the    musical    interpretation    of   "Song    Story  —  The    Champion 
Jumper  "  and  of  this  week's  sight  songs. 

TWENTY-SECOND  WEEK 

435.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

436.  Sight  Singing.    Give  the  "  First  Reader,"  Nos.  108-115. 

437.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

TWENTY-THIRD  WEEK 

438.  Rote  Singing.    Teach  the  master  song,  "  The  Water  Sprite," 
page  247,  "  Teachers'  Edition  for  Elementary  Grades." 

439.  Sight  Singing.    Give  the  "First  Reader,"  Nos.  116-125. 

440.  Musical  Interpretation.   Teach  by  suggestive  questioning 
the  musical  interpretation  of   "  The  Water  Sprite "  and  of  this 
week's  sight  songs. 


MUSIC  IN  THE  PUBLIC  SCHOOLS 


Intervals 
4-8,  •-? 


Vowel  . 
sounds  i,  6. 
Final  conso- 
nant combi- 
nation ght 


Interval  6-5 


Interval  7-3 


TWENTY-FOURTH  WEEK 

441.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

442.  Sight  Singing.  With  any  pitch  from  c  to  e,  as  1,  dictate 
orally  and  from  the  staff  the  intervals  4-8  and  2—7,  using  respec- 
tively the  melodic  phrases  876548s  and  i  8  7  5  2  7  a 

Give  the  "  First  Reader,"  Nos.  126-134. 

443.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

TWENTY-FIFTH  WEEK 

444.  Rote    Singing.    Teach    the    master    song    "  The    Eose," 
page  248,  "  Teachers'  Edition  for  Elementary  Grades." 

445.  Sight  Singing.    Give  the  "  First  Reader,"  Nos.  135-144. 

446.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  "  The  Rose  "  and  of  this  week's  sight 
songs. 

TWENTY-SIXTH  WEEK 

447.  Voice  Training.    Teach  the  vowel  sounds  1  and  6  and  the 
final    consonant    combination    ght   as    they    are   given  in    Voice 
Drill  XLIII. 

448.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  song. 

449.  Sight  Singing.    With  any  pitch  from  i  to  b,  as  1,  dictate 
orally  and  from  the  staff  the  interval  (5—5  in  the  melodic  phrase 
5566571. 

"Give  the  "  First  Reader,"  Nos.  145-153. 

450.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

TWENTY-SEVENTH  WEEK 

451.  Rote  Singing.    Teach  Rote  Song  XLIII,  "  Twilight." 

452.  Sight  Singing.    With  any  pitch  from  6  to  c,  as  1,  dictate 
orally  and  from  the  staff  the  interval  7-3  in  the  melodic  phrase 

8638736. 


THIRD  YEAR     ,  87 

Give  the  "  First  Reader,"  Nos.  154-164. 

453.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  "  Twilight "  and  of  this  week's  sight 
songs. 

454.  Teach  the  term  andante.  "  slow."    For  an  illustration  refer  Term  of 

expression 

the  class  to  the  "  First  Reader,"  No.  160,  and  for  the  definition  to  andante 
the  "  First  Reader,"  page  120. 

TWENTY-EIGHTH  WEEK 

455.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  song. 

456.  Sight   Singing.    With  the  pitch  of  d  or  6,  as   1,  dictate  intervals 

4 ""7 1  4*"7 

orally  and  from  the  staff  the  intervals  4-7  and  4-7,  using  respec- 
tively the  melodic  phrases  5874365  and  i  i  7_  2  4  7_  1. 
Give  the  "  First  Reader,"  Nos.  165-175. 

457.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

TWENTY-NINTH  WEEK 

458.  Sight  Singing.    Give  a  general  review. 

459.  Musical  Interpretation.    Give  a  review  of  phrasing,  of  the 
dynamic  signs  p  and  pp,  and  of  the  tempo  terms  moderate,  alle- 
gretto, allegro,  andantino,  and  andante. 

460.  From  the  preceding  work  let  the  class  select  and  arrange 
several  song  programmes  and  render  them.    For  suggestions  see 
§§  486-490. 

THIRTIETH  WEEK 

461.  Rote  Singing.    Teach  the  master  song  "  Summer  Days," 
page  249,  "  Teachers'  Edition  for  Elementary  Grades." 

462.  Sight  Singing.    With  any  pitch  from  c  to  f,  as  1,  dictate  interval  a-c 
orally  and  from  the  staff  the  interval  2-6  in  the  melodic  phrase 

8642651. 

Give  the  "First  Reader,"  Nos.  176-183. 

463.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  "  Summer  Days"  and  of  this  week's 
sight  songs. 


Term  of 

expression 

lento 


nation  ds 


Interval  1-7 


88  MUSIC  IN  THE  PUBLIC   SCHOOLS 

THIETY-FIRST  WEEK 

464.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

465.  Sight  Singing.    Give  the  "  First  Reader,"  Nos.  184-193. 

466.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

467.  Teach  the  term  lento,  "  very  slow."    For  an  illustration 
refer  the  class  to  the  "  First  Reader,"  No.  184,  and  for  the  defini- 
tion to  the  "First  Reader,"  page  120. 

THIKTY-SECOND  WEEK 
vowel  sounds       468.  Voice  Training.    Teach  the  vowel  sounds  oo  and  oy  and  the 

00    0V 

Final  conso-     final  consonant  combination  ds  as  given  in  Voice  Drill  XLIV. 
nant  combi-  .«/»-»          „ .  ^     •  •     i 

469.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  song. 

470.  Sight  Singing.    With  any  pitch  from  c  to  6,  as  1,  dictate 
orally  and  from  the  staff  the  interval  1-7  in  the  melodic  phrase 
187717s. 

Give  tlie  "First  Reader,"  Nos.  194-202. 

471.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

THIRTY-THIRD  WEEK 

472.  Rote  Singing.    Teach  Rote  Song  XLIV,  "  Our  Country." 

473.  Sight  Singing.    Give  the  "First  Reader,"  Nos.  203-214. 

474.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  "  Our  Country  "  and  of  this  week's 
sight  songs. 

THIRTY-FOURTH  WEEK 

475.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

interval  7-6  476.  Sight  Singing.  With  any  pitch  from  f  to  a,  as  1,  dictate 
orally  and  from  the  staff  the  interval  7-6  in  the  melodic  phrase 
1724671. 

Give  the  "  First  Reader,"  Nos.  215-227. 


THIRD  YEAR  89 

477.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

THIRTY-FIFTH  WEEK 

478.  Voice  Training.    Give  a  review  of  the  voice  drills  from 
XXXIX  to  XL1V. 

479.  Rote  Singing.    Omit  entirely  or  give  a  review  of  any  pre- 
ceding rote  or  master  song. 

480.  Sight  Singing.    Give  the  "  First  Reader,"  Nos.  228-237. 

481.  Musical  Interpretation.    Teach  by  suggestive  questioning 
the  musical  interpretation  of  this  week's  sight  songs. 

THIRTY-SIXTH  WEEK 

482.  Rote  Singing.    Give  a  review   of  any  preceding  rote  or 
master  song. 

483.  Sight    Singing.    Give    a   general    review    of    the    "  First 
Reader,"  Part  I. 

484.  Musical  Interpretation.    Let  the  class  arrange  from  this 
year's  work  several  song  programmes  and  render  them.    For  sug- 
gestions see  §§  486-490. 

485.  Teach  the  term  of  expression  presto,  "very  fast."    For  an  Term  of 
illustration  refer  the  class  to  the  "  First  Reader,"  No.  156,  and  for 

the  definition  to  the  "  First  Reader,"  page  120. 

486.  Suggestive  song  programmes  from  this  year's  work   are 
given  below.    Piano  accompaniments  for  all  songs  will  be  found 
in  "  Teachers'  Edition  for  Elementary  Grades." 

1.  "The  Toy  Balloon" Frederic  Field  Bullard 

"  First  Reader,"  page  9 

2.  "Thanksgiving" Mrs.  H.  H.  A.  Beach 

"  First  Reader,"  page  8 

3.  "When  the  Children  Go  " Schumann 

"  Teachers'  Edition  for  Elementary  Grades,"  page  236 

4.  "  A  Funny  Story  " M.  White 

"  First  Reader,"  page  11 

5.  "The  Rose" Franz 

"  Teachers'  Edition,"  page  248 

6.  "Cradle  Song" J.  M.  McLaughlin 

"  First  Reader,"  page  5 

7.  "  Hail,  Fairest  Land  " S.  Hoffer 

"  First  Reader,"  page  12 


90  MUSIC  IN  THE  PUBLIC   SCHOOLS 

487. 

1.  "Song  of  the  March  Wind" C.B.Edmunds 

"  Teachers'  Edition,"  page  230 

2.  "Fairy  Frost" French 

"  Teachers'  Edition,"  page  52 

3.  "Winter  Cradle  Song" W.  Taubert 

"  Teachers'  Edition,"  page  227 

4.  "  Santa  Claus  " 

"  First  Reader,"  page  13 

5.  «  The  Wanderer  " C.  E.  Connew 

"  First  Reader,"  page  24 

6.  "  The  Merry  Skaters  " German 

"  First  Reader,"  page  30 

7.  "Cold  the  Winds  of  March  " Scandinavian 

"  First  Reader,"  page  30 

8.  "  Flag  of  Our  Nation  " J.  M.  McLaughlin 

"  First  Reader,"  page  27 

488. 

1.  "Spring  Song" Chopin 

"  Teachers'  Edition,"  page  219 

2.  "Nightfall" J.  Stainer 

"  Teachers'  Edition,"  page  49 

3.  "  Reasoning  Together  " 

"  First  Reader,"  page  40 

4.  "Eventide" M.  Moskowski 

"  Teachers'  Edition,"  page  224 

5.  "The  Violet" R.  Mellesh 

"  First  Reader,"  page  35 

6.  "At  Sunset" Frederic  Field  Bullard 

"  First  Reader,"  page  43 

7.  "Our  Country's  Heroes" German 

"  First  Reader,"  page  34 

489. 

1.  "The  Swing" M.  White 

"  First  Reader,"  page  45 

2.  "Summer  Days" Mendelssohn 

"  Teachers'  Edition,"  page  249 

3.  "  O  Moon  in  the  Night " T.  E,  Morrell 

"  First  Reader,"  page  44 

4.  " Summer  Clouds  " C.  Eppstein 

"  First  Reader,"  page  44 

5.  "Stars" W.  W.  Gilchrist 

"  First  Reader,"  page  19 

6.  "  The  Telephone  " Frederic  Field  Bullard 

"  First  Reader,"  page  38 

7.  "Evening" F.  Remsen 

"  First  Reader,"  page  43 

490. 

1.  "In  One  Year" Carl  Bohm 

"  Teachers'  Edition,"  page  244 

2.  "A  Story  " George  A.  Veazie 

"  First  Reader,"  page  14 

3.  "  The  Water  Sprite  " Rubinstein 

"  Teachers'  Edition,"  page  247 


THIRD  YEAR  91 

4.  "Why" Mrs.  H.  H.  A.  Beach 

"  First  Reader,"  page  29 

5.  "  Little  Bo-Peep  " J.  W.  Elliott 

"  First  Reader,"  page  40 
0.  "Twilight" C.B.Edmunds 

"  Teachers'  Edition,"  page  65 

7.  " Our  Country  " A.  Zitz 

"  Teachers'  Edition,"  page  66 

491.  Briefly  suggested  lesson  programmes  for  any  week  of  the 
third  year,  as,  for  example,  the  sixth  week,  §§  371-377,  are  as 
follows : 

MONDAY 

1 .  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Review  any  rote  song. 

4.  Blending  of  registers,  §  371. 

5.  Review  group  beats  and  teach  interval  6-1. 

TUESDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Blending  of  registers. 

4.  Review  dictation  of  intervals. 

5.  "First  Reader,"  Nos.  24-26. 

WEDNESDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Review  any  rote  song. 

4.  Blending  of  registers. 

5.  "First  Reader,"  No.  27. 

THURSDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Review  dictation  of  intervals. 

4.  Blending  of  registers. 

5.  "First  Reader,"  No.  28. 

FRIDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Review  any  rote  song. 

4.  Review  phrasing  and  dynamic  signs/)  and  pp. 

5.  Musical  interpretation  of  "First  Reader,"  Nos.  27  and  28. 


FOURTH  YEAR 

SYNOPSIS 
Voice  Training 

Vocalization  of  all  material  in  this  year's  work. 

Rote  Singing 

Optional.   Master  songs. 

Sight  Singing 

Tune.  The  intermediate  tones,  $  4  and  b  7,  in  the  melodic  progressions 
5  §  4  5  and  6  I?  7  6,  in  each  of  the  nine  keys.  The  characters  ft,  t>,  and 
JT,  535,  and  following.  _»_ 

Time.    Type  Two,  represented  by  J    J ,  502. 

Figure  One  represented  by  J  •     j    ,  523. 
Part  Song.    The  Round,  560. 
Two-part  Song,  564. 

Musical  Interpretation 

Terms  of  expression  indicating  manner  and  feeling:  con  espressione,  con 
moto,  con  grazia,  animato,  vivace,  and  t.rcmquillo,  509-568. 

From  the  study  of  the  spirit  of  the  music  and  the  terms  and  signs  of 
musical  expression,  the  musical  interpretation  of  all  material  in  this  year's 
work. 

Musical  Conceptions 

The  more  general  melodic  characteristics  of  noted  composers  are  intro- 
duced in  less  simple  songs  and  exercise  melodies,  together  with  the  inter- 
weaving of  melodies  in  two-part  harmony. 

There  is  also  introduced  a  musical  representation  of  seven  nationalities, 
—  German,  French,  Italian,  English,  Bohemian,  Scandinavian,  and  Ameri- 
can,—  including  forty-seven  composers,  the  more  important  of  whom  are 
Franz  Abt,  Beethoven,  Franz  Bendel,  Frederic  Field  Bullard,  Dvorak,  Franz, 
Jessie  L.  Gaynor,  W.  W.  Gilchrist,  Grieg,  Henry  K.  Hadley,  Henry  Holden 
Huss,  Clayton  Johns,  F.  Kucken,  Mendelssohn,  Mozart,  Purcell,  J.  Raff, 
Carl  Reinecke,  Schubert,  and  Schumann  ;  and  forty-three  poets  in  song,  the 
more  important  of  whom  are  William  Allingham,  Abbie  Farwell  Brown, 
Lydia  Maria  Child,  Louis  C.  Elson,  Gertrude  E.  Heath,  Lord  Houghton, 
Jean  Ingelow,  Lowell,  Winthrop  Packard,  Christina  Rossetti,  Scott,  Frank 

92 


FOURTH  YEAR  93 

Dempster  Sherman,  Alexander  Smart,  Stevenson,  Edna  Kingsley  Wallace, 
Nixon  Waterman,  Isaac  Watts,  Whittier,  and  Wordsworth. 
Suggested  song  programmes,  574-578. 

Material 

For  pupils'  use,  "First  Reader,"  pages  46-110,  for  voice  training,  sight 
singing,  musical  interpretation,  and  musical  conceptions. 

For  teachers'  use,  "Music  in  the  Public  Schools  "  and  the  "Teachers' 
Edition  for  Elementary  Grades,"  for  voice  training,  rote  songs,  nine  master 
songs,  and  piano  accompaniments. 


FOUKTH  YEAK 

PLAN  FOR  THIETY-SIX  WEEKS'  WORK 
GENERAL  SUGGESTIONS 

492.  Rote  Singing.    During  the  fourth  year's  work  rote  singing 
may  be  practiced  occasionally  or  dropped  entirely  according  to  the 
wish  of  the  teacher.    It  will  not  be  mentioned  in  the  following 
weekly  outlines.    Voice  training,  sight  singing,  and  musical  inter- 
pretation will  be  continued  as  heretofore,  but  as  the  New  Educa- 
tional Music  Readers  combine  in  one  and  the  same  material  the 
means  for  the  development  of  these  three  essentials,  together  with 
that  of  the  best  musical  conceptions,  the  subject  headings  "  Voice 
Training,"  "  Sight  Singing,"  and  "  Musical  Interpretation  "  will  be 
omitted  hereafter,  and  the  weekly  outlines  will  specify  only  the 
reader  numbers  to  be  studied,  together  with  suggestions  for  the 
presentation  of  new  features  as  they  occur  in  the  development  of 
the  subject. 

493.  Voice  Training.    The  proper  conserving  and  developing  of 
the  young  voice  should  not  be  slighted  for  even  a  single  lesson. 
Do  not  allow  the  pupil  to  sing  at  any  time  without  good  breath 
support,  an  open  throat,  and  good  tone  direction.    Never  allow  the 
forcing  of  chest-register  tones  upward  into  the  region  of  the  head 
register.    Allow  loud  singing  only  after  the  .registers  have  been 
carefully  blended  and  the  tones  properly  placed.    Insist  at  all  times 
on  the  correct  enunciation  of  every  vowel  and  consonant  sound. 
Require  daily  the  practice  of  Voice  Drill  XXXIX,  a,  in  the ' '  Teachers' 
Edition  for  Elementary  Grades,"  page  49. 

These  features  of  voice  training  have  been  carefully  presented 
and  emphasized  in  the  outlines  of  the  first  three  years,  and  should 
still  receive  constant  daily  attention.  If  at  any  time  it  is  found 
that  the  pupils  have  become  deficient  in  any  of  these  respects,  it  is 

94 


FOURTH  YEAR  95 

urged  that  the  regular  work  give  way  to  such  a  review  drill  as 
will  restore  the  class  to  its  proper  standing. 

494.  Teach  the  child  to  form  the  habit  of  singing  correctly  in 
the  first  years  of  his  school  life,  and  thereafter  the  difficulties  and 
drudgery  of  voice  training  will,  to  a  great  extent,  be  obviated. 

495.  Sight  Singing.    By  this  time  the  children  have  become 
accustomed,  through  constant  practice,  to  perform  the  mental  proc- 
esses involved  in  sight  singing.    They  have  also  become  familiar 
with   the  thirty-four  intervals,  the   Rhythmic   Type   One,  three 
Rhythmic  Group  Beats,  the  nine  common  keys,  and  the  five  differ- 
ent kinds  of  measure.    With  a  general  review  to  recall  clearly  these 
elements,  for  which  see  the  "  First  Reader,"  pages  1-45,  the  class 
will  be  prepared  to  go  on  with  this  year's  work. 

496.  Musical  Interpretation.    After  the  child  has  sung  a  song 
at  sight  he  should  learn  to  interpret  it  with  some  degree  of  artistic 
finish.    Sight  singing  and  musical  interpretation  are  two  different 
processes  which  are  sometimes  confounded.    The  former  is  a  de- 
duction of  the  import  of  musical  notation ;  the  latter  is  an  expres- 
sion of  the  content  of  the  song,  —  its  whole  musical  thought  and 
feeling. 

497.  Heretofore  musical  interpretation  has  been  chiefly  sought 
by  leading  the  child  through  various  simple  means  to  catch  the 
spirit  of  the  song  and  to  render  it  accordingly.    The  pupil  has 
depended  but  little  upon  his  personal  knowledge  of  the  terms  and 
signs  of  expression.    From  now  on,  however,  he  will  be  called  upon 
more  and  more  to  learn  the  meaning  of  these  terms  and  to  apply 
them. 

FIRST  WEEK 

498.  Give    a  review  of   the   "First  Reader," -— two   or  more 
staves  on  each  of  the  pages  1,  6,  11,  16,  21,  26,  31,  36,  41. 

499.  Give  a  review  of  the  dynamic  signs  p  and  pp,  and  phras- 
ing, §  303. 

SECOND  WEEK 

500.  Give  a  review  of  the  "  First  Reader,"  —  two  or  more  staves 
on  each  of  the  pages  2,  7,  12,  17,  22,  27,  32,  37,  42. 


96  MUSIC  IN  THE  PUBLIC   SCHOOLS 

501.  Give  a  review  of  the  terms  of  expression  indicating  even 
tempo,  —  moderato,    allegretto,    allegro,   andantino,    andante,   and 
lento.    For  definitions  see  the  "  First  Header,"  page  120.    Illustrate 
with  sight  songs  already  learned. 

THIRD  WEEK 

502.  The    Rhythmic  Type  Two,  or,  as  it  is  briefly  called  in 
teaching,  Type  Two,  consists  of  two  equal  tones  to  the  beat,  and  in 

all  quarter  measures  is  represented  by  two  eighth  notes,  thus  :  JJ 

503.  Teach  T}7pe  Two  by  imitation  as  follows  : 

On  any  pitch,  as  eb,  and  with  any  syllable,  as  do,  in  exact  time, 
sing  for  the  class  Type  One  four  times,  metronome  about  69,  ac- 
centing all  tones  equally,  thus : 


do          do          do 


Ask  the  class  to  imitate  this  and  tell  what  they  have  sung. 

With  the  same  pitch,  syllable,  and  tempo,  and  with  the  same 
number  of  beats,  sing  for  the  class  two  equal  tones  to  the  beat, 
accenting  the  first  tone  only  of  each  beat,  thus : 


do      do  do     do 

Ask  the  class  to  imitate  this;  insist  that  it  be  sung  in  exact 
time  and  that  the  first  tone  of  each  beat  be  accented.  When  this 
has  been  done  correctly,  inform  the  class  that  each  do  do  is  made 
up  of  two  equal  tones  to  the  beat  and  is  called  Type  Two. 

Eepresent  Type  Two  in  the  same  exercise  on  the  blackboard, 
thus:  a 


p>  — F=F~  r 

0 * -0  0 0 


Tell  the  class  that  each  group  of  notes  represents  Type  Two  and 
consists  of  two  eighth  notes. 


FOURTH  YEAR 


97 


Give  the  pitch  of  eb  and  ask  the  class  to  sing  the  scale  down- 
ward with  Type  Two  for  each  tone,  using  the  sol-fa  syllables,  or 
any  common  syllable,  as  loo.  As  they  near  the  end  of  the  exercise 
do  not  allow  them  to  hasten  the  tempo. 

When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus : 


Let  the  class  sing  Exercises  a  and  b  from  the  blackboard  until 
the  steady  and  regular  succession  of  Type  Two  is  familiar  to  them. 

504.  Rhythmic  Dictation.  Give  any  pitch,  as  sb,  and  any  syl- 
lable, as  do,  and  dictate  the  following  rhythmic  exercises  : 

Type  One  and  Type  Two. 
Type  One  twice  and  Type  Two  twice. 
Type  Two  twice  and  Type  One  twice. 
Type  One,  Type  Two  twice,  and  Type  One. 
Type  Two  twice  and  Double  Type,  etc. 

Place  on  the  blackboard  the  following  exercises,  give  the  pitch 
of  a,  and  ask  the  class  to  sing  them.  Do  not  point  to  the  notes. 


j     j 


505.  Copy  on  the  blackboard  the  following  melodic  progressions 
and  ask  the  class  to  sing  them.    Do  not  point  to  the  notes. 


98 


MUSIC   IN  THE  PUBLIC   SCHOOLS 


Term  of 
expression 
con  espres- 
sione 


Term  ol 
expression 
con  moto 


506.  Give  the  "  First  Header,"  Nos.  238-247. 

FOURTH  WEEK 

507.  Do  not  neglect  the  daily  practice  of  Voice  Drill  XXXIX,  a, 
"  Teachers'  Edition  for  Elementary  Grades,"  page  49. 

Give  a  review  of  the  "First  Reader,"  —  two  or  more  staves  of 
^  measure  on  each  of  the  pages  3,  8,  13,  18,  23. 

508.  Give  the  "  First  Reader,"  Nos.  248-251. 

509.  Teach  con  espressione,  "  with  expression." 

Ask  the  class  to  find  an  illustration  of  this  term  in  this  week's 
work.  For  definitions  of  all  signs  and  terms  of  expression  refer 
them  to  the  "  First  Reader,"  page  120. 

FIFTH  WEEK 

510.  Give  a  review  of  the  "  First  Reader,"  -  —  two  or  more  staves 
of  |  measure  on  each  of  the  pages  28,  33,  38,  43. 

511.  Give  the  "First  Reader,"  Nos.  252-261. 

SIXTH  WEEK 

512.  Give  the  "  First  Reader,"  Nos.  262-269. 

513.  Give  a  review  of  con  espressione.    Teach  con  moto,  "  with 
spirited  movement." 

Ask  the  class  to  find  an  illustration  of  this  term  in  this  week's 
work. 

SEVENTH  WEEK 


514.  Give  the  "  First  Reader,"  Nos.  270-275. 


FOURTH  YEAR  99 

EIGHTH  WEEK 

515.  Do  not  neglect  the  daily  practice  of  Voice  Drill  XXXIX,  a, 
"  Teachers'  Edition  for  Elementary  Grades,"  page  49. 

516.  Give  the  "  First  Reader,"  Nos.  276-286. 

NINTH  WEEK 

517.  Give  a  review  of  the  "  First  Reader,"  Nos.  238-286. 

518.  Give  a  review  of  the  "  First  Reader,"  —  two  or  more  staves 
of  |  measure  on  each  of  the  pages  4,  9,  14,  19,  24,  29,  34,  39,  44. 

519.  Review  the  musical  interpretation  of  the  "  First  Reader," 
Nos.  246,  249,  250,  251,  257,  269,  270,  271,  276. 

TENTH  WEEK 

520.  Give  the  "  First  Reader,"  Nos.  287-292. 

ELEVENTH  WEEK 

521.  Give  a  review  of  con  espressione  and  con  moto.    Teach  con  Term  of 

,.      .  ,  ,.  expression 

grazia,     with  grace. 

522.  Give  the  "  First  Reader,"  Nos.  293-294. 

523.  The   Rhythmic  Figure  One,  or,  as  it  is  briefly  called  in 
teaching,  Figure  One,  consists  of  two  unequal  tones  represented  by 

a  dotted  quarter  note  followed  by  an  eighth  note,  thus :   4  •    J^ 

524.  From  Type  One  and  Type  T,wo  develop  Figure  One  as 
follows : 

Represent  on  the  blackboard  Type  One  and  Type  Two  as  follows : 


Ask  the  class  to  sing  this ;  then  tie  the  first  two  notes,  thus : 

. 


100 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


Ask  the  class  to  sing,  joining  the  tones  of  the  tied  notes  together 
and  not  forgetting  the  accent  of  the  second  beat,  thus : 


Do  -  -  o 


Figure  one         When  this  has  been  sung  correctly,  tell  them  that  they  have 

represented 

I      |»     sung  Jngure  One. 

Eepresent  it  on  the  blackboard,  thus : 


Tell  the  class  that  these  notes  represent  Figure  One  and  are  a 
dotted  quarter  note  and  an  eighth  note. 

Give  the  pitch  of  §1?  and  ask  the  class  to  sing  the  scale  down- 
ward with  Figure  One  for  each  tone,  using  the  sol-fa  syllables,  or 
any  common  syllable,  as  loo.  As  they  near  the  end  of  the  exercise 
do  not  allow  them  to  hasten  the  tempo.  Insist  on  an  accent  for 
the  introduction  of  every  beat. 

When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus : 


Let  the  class  sing  this  exercise  until  Figure  One  is  familiar  to 
them. 

525.  Rhythmic  Dictation.  Give  any  pitch,  as  eb,  and  any  syl- 
lable, as  do,  and  dictate  the  following  rhythmic  exercises : 

Figure  One  twice. 

Type  One  twice  and  Figure  One. 

Type  One,  Type  Two,  and  Figure  One. 

Figure  One  and  Double  Type. 

Type  One  twice,  Type  Two  twice,  Figure  One  and  Double 
Type,  etc. 

Place  on  the  blackboard  the  following  exercises,  give  the  pitch 
of  g,  and  ask  the  class  to  sing  them.  Do  not  point  to  the  notes. 


FOURTH  YEAR  101 

J  J         J  J         J-  J>J 

J.            /J  J         J.  /J  * 

J.            //I  J          J-  /J  * 

J  J         J.  ^J  ^J    J  * 

j"3  j    j  .     /  n 

j.     /.n  .n  j. 
j.     ^j        j. 


Tell  the  class  that  Figure  Oue  is  not  used  in  |  measure. 

526.  Give  the  "  First  Reader,"  Nos.  295-299. 

TWELFTH  WEEK 

527.  Do  not  neglect  the  daily  practice  of  Voice  Drill  XXXIX,  a, 
"  Teachers'  Edition  for  Elementary  Grades,"  page  49. 

528.  Give  the  "  First  Reader,"  Nos.  300-306. 

THIETEENTH  WEEK 

529.  Give  the  "  First  Reader,"  Nos.  307-313. 

FOURTEENTH  WEEK 

530.  Give  the  "  First  Reader,"  Nos.  314-317. 

FIFTEENTH  WEEK 

531.  Give  a  review  of  the  "First  Reader,"  Nos.  287-317. 

532.  Give   a  review  of   the   "First   Reader,"  —  two  or  more 
staves  of  |  measure  011  each  of  the  pages  5,  10,  15,  20,  25,  30, 
35,  40,  45. 

533.  Give  a  review  of  the  musical  interpretation  of  Nos.  287, 
288,  293,  294,  303,  305,  306,  310,  312,  313,  314,  315,  317. 


102 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


Intermediate 
tone 


SIXTEENTH  WEEK 

534.  Do  not  neglect  the  daily  practice  of  Voice  Drill  XXXIX,  a, 
"  Teachers'  Edition  for  Elementary  Grades,"  page  49. 

535.  From  the  progression  8  7  8  as  a  pattern,  develop  the  pro- 
gression 5  |f  4  5  and  the  intermediate  tone  represented  by  $  4,  as 
follows : 

Give  the  pitch  of  5  and  dictate  orally,  thus :  8765543. 

After  the  class  has  sung  this,  ask  them  to  sing  8  7  8  on  the 
pitch  of  5,  and  to  repeat  the  same  tones  several  times,  calling  them 
sol  fi  sol.  Now  ask  them  to  sing  sol  fa  mi,  followed  by  sol  fi  sol,  and 
to  notice  that  fi  is  higher  in  pitch  than  fa,  but  not  so  high  in  pitch 
as  sol.  Explain  that  because  it  stands  between  two  tones  it  is 
called  an  "  intermediate  tone." 

Represent  it  on  the  blackboard,  thus : 


Intermediate 
tone  $4  in 
stepwise 
progression 


Call  the  attention  of  the  class  to  the  fact  that  there  is  no  line 
or  space  on  the  staff  between  the  representations  of  fa  and  eol  for 
the  representation  of  this  intermediate  tone ;  therefore  it  is  repre- 
sented on  the  same  space  as  fa  with  the  sharp  ($)  before  it,  thus : 


State  that  the  scale  name  for  the  syllable  fi  is  $4. 
536.  Give  the  pitch  of  e  and  dictate  orally,  thus : 

878 
5  #4  5 
5  #4  5 
543 

Require  the  class  to  sing  this  exercise  until  4  and  JJ4  are  sung 
true  to  pitch ;  then  represent  it  on  the  blackboard,  thus : 


103 


Point  to  the  last  note  on  f  and  explain  that  as  the  preceding 
notes  on  f  are  sharp,  in  order  to  remind  the  singer  that  this  note 
is  not   sharp  a  sign   is   placed   before   it   called  a  "  cancel "  or  intermediate 
"  natural"    Insert  the  cancel  in  the  above  exercise  and  it  becomes 


537.  Place  on  the  blackboard  this  melody : 


Call  the  attention  of  the  class  to  the  second  note  on  g  in  the 
first  measure  and  explain  that  this  note  is  sharp  because  the  pre- 
ceding note  on  g  in  the  same  measure  is  sharp. 

Let  the  class  sing  this  melody  and  then  repeat  the  rule  that  an 
intermediate  sharp  or  flat  affects  every  note  following  it  in  the 
measure  in  which  it  occurs. 

538.  Give  the  "First  Reader,"  Nos.  318-325. 

539.  From  the  progression  3  4  3  as  a  pattern,  develop  the  pro- 
gression 6  b7  6  and  the  intermediate  tone  represented  by  1?  7,  as 
follows : 

Give  the  pitch  of  c  and  dictate  orally,  thus :  8765543. 

After  the  class  has  sung  this,  ask  them  to  sing  3  4  3  on  the 
pitch  of  6,  and  to  repeat  the  same  tones  several  times,  calling  them 
la  ta  la.  Now  ask  them  to  sing  la  ti  do,  followed  by  la  ta  la,  and  to 
notice  that  ta  is  lower  in  pitch  than  ti,  but  not  so  low  as  la.  State 
that  it  is  therefore  an  intermediate  tone  and  that  it  is  represented 
on  the  same  line  as  ti  with  the  flat  (b)  before  it,  thus : 


-*- 


II 


ta 

State  that  the  scale  name  for  the  syllable  ta  is  l>7. 
540.  Give  the  pitch  of  c  and  dictate  orally  thus : 

878 

6t>7  6 

6t>7  6 

578 


Intermediate 
tone  b  7  in 

stepwise 
progression 


104 


MUSIC  IN  THE  PUBLIC  SCHOOLS 


Eequire  the  class  to  sing  this  exercise  until  7  and  1?  7  are  sung 
true  to  pitch ;  then  represent  it  on  the  blackboard,  thus : 


Point  to  the  last  note  on  b  and  explain  that  as  the  preceding 
notes  on  b  are  flat,  in  order  to  remind  the  singer  that  this  note  is 
not  flat  the  cancel  or  natural  is  placed  before  it.  Insert  the  cancel 
in  the  above  exercise  and  it  becomes 


i 


541.  Give  the  "  First  Eeader,"  Nos.  326-329. 

SEVENTEENTH  WEEK 

542.  Give  the  "  First  Eeader,"  Nos.  330-335. 

EIGHTEENTH  WEEK 

543.  Give  the  "  First  Eeader,"  Nos.  336-343. 

544.  In  No.  339  b 7  occurs  in  the  key  of  G  and  is  represented 
by  a  t{ ;  with  reference  to  this  let  the  class  learn  the  following  rule : 

When  intermediate  b  7  is  on  the  same 

line  or  space  with  a  Jf  in  the  signature  it 

is  represented  by  a  t}.    The  signature  suggests  the  cancel. 

545.  Give  a  review  of  con  espressione,  con  moto,  and  con  grazia. 
Teach  animato,  "  animated." 

NINETEENTH  WEEK 

546.  Give  the  "First  Eeader,"  Nos.  344-356. 

547.  In  No.  344  $  4  occurs  in  the  key  of  F  and  is  represented 
by  a  tj,  with  reference  to  which  let  the  class  learn  this  rule : 

When  intermediate  $4  is  on  the  same 

line  or  space  with  a  \>  in  the  signature  it 

is  represented  by  a  \.    The  signature  suggests  the  cancel. 


FOURTH  YEAR  105 

TWENTIETH  WEEK 

548.  Do  not  neglect  the  daily  practice  of  Voice  Drill  XXXIX,  a, 
"  Teachers'  Edition  for  Elementary  Grades,"  page  49. 

549.  Give  the  "  First  Reader,"  Nos.  357-365. 

TWENTY-FIRST  WEEK 

550.  Give  the  "  First  Reader,"  Nos.  366-376. 

TWENTY-SECOND  WEEK 

551.  Give  the  "First  Reader,"  Nos.  377-390. 

TWENTY-THIRD  WEEK 

552.  Give  a  review  of  the  "  First  Reader,"  Nos.  318-390. 

553.  Give  a  review  of  the  musical  interpretation  of  some  or  all 
of  the  "  First  Reader,"  Nos.  325,  330,  335,  338,  343,  348,  350, 
357,  362,  365,  371,  376,  378,  386. 

TWENTY-FOURTH  WEEK 

554.  Do  not  neglect  the  daily  practice  of  Voice  Drill  XXXIX,  a, 
"  Teachers'  Edition  for  Elementary  Grades,"  page  49. 

555.  Give  the  "  First  Reader,"  Nos.  391-403. 

TWENTY-FIFTH  WEEK 

556.  Give  the  "First  Reader,"  No.s.  404-416. 

557.  Give  a  review  of  con  espressione,  con  moto,  con  qrazia,  and  Term  of 

m       v       •  «  i  •     i     »  expression 

animato.    leach  mvace,     gay,  lively.  vivace 

TWENTY-SIXTH  WEEK 

558.  Give  the  "  First  Reader,"  Nos.  417-428. 

TWENTY-SEVENTH  WEEK 

559.  Give  the  "  First  Reader,"  Nos.  429-439. 

560.  No.  439  introduces  the  Round.  For  definition  see  the  "First  The  Round 
Reader,"  page  119.   For  manner  of  singing  the  Round  see  the  "  First 
Reader,"  page  91,  footnote.    Explain  the  use  of  the  brace.  The  Brace 


106 


MUSIC  IN   THE  PUBLIC   SCHOOLS 


TWENTY-EIGHTH  WEEK 

561.  Give  the  "  First  Reader,"  Nos.  440-447. 

TWENTY-NINTH  WEEK 

562.  Give  a  review  of  the  "  First  Header,"  Nos:  391-447. 

563.  Give  a  review  of  the  musical  interpretation  of  some  or  all 
of  the  "First  Reader,"  Nos.  391,  392,  397,  399,  404,  406,  411, 
412,  417,  418,  423,  424,  431,  438,  439,  440,  441,  442,  443,  444, 
445,  446,  447. 

THIRTIETH  WEEK 

564.  Give  the  "  First  Reader,"  Nos.  448-458. 

THIRTY-FIRST  WEEK 

565.  Give  the  "  First  Reader,"  Nos.  459-469. 

THIRTY-SECOND  WEEK 

566.  Give  the  "  First  Reader,"  Nos.  470-478. 

THIRTY-THIRD  WEEK 

567.  Give  the  "  First  Reader,"  Nos.  479-487. 

568.  Give  a  review  of  con  espressione,  con  moto,  con  grazia, 
animato,  and  vivace.    Teach  tranquillo,  "  tranquil,  quiet." 

THIRTY-FOURTH  WEEK 

569.  Give  the  "  First  Reader,"  Nos.  488-498. 

THIRTY-FIFTH  WEEK 

570.  Give  a  review  of  the  "  First  Reader,"  Nos.  448-498. 

571.  Give  a  review  of  the  musical  interpretation  of  some  or  all 
of  the  "First  Reader,"  Nos.  452,  453,  458,  459,  464,  465,  470, 
475,  476,  481,  486,  487,  492,  497,  498. 

THIRTY-SIXTH  WEEK 

572.  Give  a  general  review  of  the  "  First  Reader,"  Parts  II,  III, 
and  IV. 


FOURTH  YEAR  107 

573.  Let  the  class  arrange  from  this  year's  work  several  song 
programmes  and  render  them.  For  suggestions  see  the  following 
lists.  For  piano  accompaniments  see  the  "  Teachers'  Edition  for 
Elementary  Grades." 

574. 

1." The  Wind" Frederic  Field  Bullard 

"  First  Reader,"  page  61 
2.  "  Fancies  " George  W.  Veazie 

"  First  Reader,"  page  47 
8.  "O,  Tiny  Boat" Katherine  Ruth  Heyman 

"  First  Reader,"  page  52 

4.  "Autumn  Pleasures  " Beethoven 

"  Teachers'  Edition,"  page  235 

5.  "My  Playmate" Franz  Abt 

"  Teachers'  Edition,"  page  232 

6.  "Autumn  Winds  " Russian 

"  First  Reader,"  page  69 

7.  "  Fairy  Jewels  " Frederic  Field  Bullard 

"  First  Reader,"  page  66 

575. 

1.  "King  Bell" English 

"  First  Reader,"  page  60 

2.  "  A  Christmas  Song  " W.  E.  Appleton 

"  First  Reader,"  page  69 

3.  "  The  Little  Dustman  " Brahms 

"  First  Reader,"  page  62 

4.  "  Lullaby  to  an  Infant  Chief  "   .          Clayton  Johns 

"  First  Reader,"  page  63 

5.  "My  Woodland" Franz 

"  Teachers'  Edition,"  page  239 

6.  "The  Nobody  Man  " Frederic  Field  Bullard 

"  First  Reader,"  page  66 

7.  "The  Owl" Mrs.  H.  H.  A.  Beach 

"  First  Reader,"  page  73 

576. 

1.  "  My  Valentine  " Isidora  Martinez 

"  First  Reader,"  page  80 

2.  "The  Wind's  Song" F.  Kucken 

"  First  Reader,"  page  79 

3.  "  Good  Morning,  Merry  Sunshine  "     .     .     .      Margaret  Ruthven  Lang 

"First  Reader,"  page  78 

4.  "Old  Glory" A.  Binzer 

"  First  Reader,"  page  76 

5.  "At  Night" J.  Raff 

"  Teachers'  Edition,"  page  240 

6.  "  Washington's  Birthday  " Frederic  Field  Bullard 

"  First  Reader,"  page  81 

7.  "  The  Passing  Soldiers  " C.  E.  Connew 

"  First  Reader,"  page  75 


108  MUSIC  IN  THE  PUBLIC  SCHOOLS 

577. 

1.  "  My  Native  Country  " Dr.  J.  Mainzer 

"  First  Reader,"  page  85 

2.  "Evensong" F.  Silcher 

"  First  Reader,"  page  86 

3.  "  Under  their  Blankets  of  Snow  " Catherine  C.  Myers 

"  First  Reader,"  page  84 

4.  "Over the  Sea" Schumann 

"  First  Reader,"  page  81 

5.  "The  Violet" Mozart 

"  Teachers'  Edition,"  page  245 

6.  "Good  Night" Mendelssohn 

"  First  Reader,"  page  83 

578. 

1.  "Hurrah!  Hurrah!" J.  Frise 

"  First  Reader,"  page  109 

2.  "Lullaby" F.  Bianchi 

"  First  Reader,"  page  107 

3.  "  In  a  Boat  " Carl  Reinecke 

"  First  Reader,"  page  103 

4.  "  When  My  Mother  Sings  " Dvorak 

"  Teachers'  Edition,"  page  256 

5.  "  To  a  Child  " Franz  Bendel 

"  Teachers'  Edition,"  page  251 

6.  "  Slumber  Song  " W.  W.  Gilchrist 

"  First  Reader,"  page  107 

7.  "  Flag  of  Our  Native  Land  " J.  M.  McLaughlin 

"  First  Reader,"  page  105 

579.  Brief  suggested  lesson  programmes  for  any  week  of  the 
fourth  year,  as,  for  example,  the  sixth  week,  §§  512,  513,  are  here 
given. 

MONDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Dictation  of  intervals  and  rhythmic  types. 

4.  Review  "  First  Reader,"  Nos.  252-256. 

5.  "First  Reader,"  Nos.  262-263. 

TUESDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Dictation  of  intervals  and  rhythmic  types. 

4.  Review  "  First  Reader,"  Nos.  257-261. 

5.  "First  Reader,"  Nos.  264-265. 

WEDNESDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 


FOURTH   YEAR  109 

3.  Dictation  of  intervals  and  rhythmic  types. 

4.  Musical  interpretation  of  any  preceding  sight  song. 

5.  "  First  Reader,"  Nos.  266-268. 

THURSDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Dictation  of  intervals  and  rhythmic  types. 

4.  "  First  Reader,"  No.  279. 

FRIDAY 

1 .  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Review  con  espressione  and  give  con  moto. 

4.  Musical  interpretation  of  "  First  Reader,"  No.  260. 


FIFTH  YEAR 

SYNOPSIS 
Voice  Training 

Vocalization  of  all  material  in  this  year's  work. 

Sight  Singing 

Tune.  The  intermediate  tones,  til,  $2,  $4,  $5,  ttft,  and  j?7,  in  each  of 
the  nine  common  keys,  approached  and  followed  stepwise,  always  in  the 
forms  of  the  following  melodic  progressions  respectively  :  2  $12,  3  $23, 
3  $45,  or  5  $43,  6  $56,  7  $67,  and  8  i?76.  The  characters  x,  and  Jj,  $, 
633  and  following.  . 

Time.   Type  One  represented  by  ey  ,  583. 

|  measure,  583. 

|  measure,  587.  C3ZE3 

Type  Four  represented  by  0000  ,596. 

Type  Four  a  represented  by  0     09  ,  603. 
Group  Two  modified  represented  by  0        00  ,608. 
Type  Four  b  represented  by  00      0  ,  612. 
Type  Four  modified  represented  by  J  •    0  ,  617. 
Group  Three  modified  represented  by   0  •   0  0  ,  622. 


Type  Three  represented  by   0    0    0  ,  625. 


Measure  accents,  642. 

Computation  of  the  time  values  of  notes,  654. 

Relative  value  of  the  dot,  655. 

The  reason  for  the  time  signature,  656. 

Musical  Interpretation 

Additional  dynamic  signs  and  terms:  mp,  mf,f,jf,  589,  sforzando,  >, 
639.  Term  of  expression  indicating  uneven  tempo,  rallentando,  601.  Terms 
of  expression  indicating  march  tempo,  marcato  and  marziale,  620,  659.  From 
the  study  of  the  spirit  of  the  music  and  the  signs  and  terms  of  musical 
expression,  the  musical  interpretation  of  all  material  in  this  year's  work. 

110 


FIFTH  YEAR  111 

Musical  Conceptions 

The  more  general  melodic  characteristics  of  noted  and  great  composers 
of  the  different  national  schools  of  music  are  introduced  in  selections  from 
musical  art  works  and  in  famous  instrumental  themes,  songs,  and  part  songs. 

There  is  also  introduced  a  musical  representation  of  eight  nationalities, 
—  German,  French,  Italian,  English,  Russian,  Scandinavian,  Danish,  and 
American,  — including  sixty -seven  composers,  the  more  important  of  whom 
are  Beethoven,  Brahms,  Leo  Delibes,  Franz,  Henry  F.  Gilbert,  Gluck, 
Philip  H.  Goepp,  Henry  K.  Hadley,  Rinaldo  Hahn,  Haydn,  Erik  Meyer- 
Helmund,  Clayton  Johns,  Halfdan  Kjerulf,  Margaret  Ruthven  Lang, 
E.  Lassen,  Harvey  Worthington  Loomis,  Mendelssohn,  Mozart,  Purcell, 
Franz  Ries,  Schubert,  Schumann,  Ludwig  Spohr,  A.  S.  Sullivan,  F.  Paolo 
Tosti,  and  Verdi ;  and  forty-eight  poets  in  song,  the  more  important  of 
whom  are  Hezekiah  Butterworth,  Isaac  Bassett  Choate,  Edmund  Vance 
Cooke,  Marian  Douglass,  Persis  Gardiner,  J.  G.  Holland,  Frank  Walcott 
Hutt,  Will  S.  Lord,  Thomas  Moore,  Samuel  Minturn  Peck,  Theodore 
Roberts,  Christina  Rossetti,  John  B.  Tabb,  E.  H.  Thomas,  Whittier,  and 
Ella  Wheeler  Wilcox. 

Suggested  song  programmes,  668-673. 

Material 

For  pupil's  use,  the  "Second  Reader  "  entire  for  voice  training,  sight 
singing,  musical  interpretation,  and  musical  conceptions. 

For  teachers'  use,  "Music  in  the  Public  Schools." 


Type  One 
represented 


FIFTH   YEAK 

PLAN  FOE  THIRTY-SIX  WEEKS'  WORK 
FIRST  WEEK 

580.  The  teacher  is  urged  to  follow  the  "  General  Suggestions" 
on  the  fourth  year's  work,  §§  492-497,  as  they  apply  equally  to 
both  years. 

581.  The  first  twenty-seven  pages  of  the  "  Second  Reader  "  are 
a  review  of  the  principles  presented  in  the  preceding  reader. 

582.  Give  the  "  Second  Reader,"  Nos.  1-5. 

583.  Concerning  Exercise  Melody  No.  5  inform  the  class  that 
the  sight  reading  of  \  measure,  and  \  measure  as  well,  involves  no 

new  principle.     Simply  consider  the  half  note,  &,  as  Type  One 

instead  of  the  quarter  note,  J 

584.  Place  on  the  blackboard  the  following  : 


Type  One  is 
Double  Type  is 
Triple  Type  is 
Type  Two  is 
Type  One  rest  is 


J 


In  |  and  jjj  measures 


Type  One  is 
Double  Type  is 
Triple  Type  is 
Type  Two  is 
Type  One  rest  is 


585.  Give  the  "  Second  Reader,"  Nos.  6-16. 


SECOND  WEEK 

586.  Give  the  "  Second  Reader,"  Nos.  17-33. 

587.  In  No.  29  ij  measure  is  introduced ;  see  §  583. 

112 


FIFTH  YEAR  113 

THIRD  WEEK 

588.  Give  the  "  Second  Reader,"  Nos.  34-48. 

589.  Review  the  dynamic  signs  p  and  pp.    Teach  mp,  "  half  Dynamic 
soft  "  ;  mf,  "  half  loud  "  ;  /,  "  loud  ";/","  very  loud  "  ;  and  — =m ,  exprcsaion 

'  „  J         11         •  •  *U  »  *»P,>"f,f,ff 

crescendo,     gradually  increasing  the  tone. 

FOURTH  WEEK 

590.  Give  the  "  Second  Reader,"  Nos.  49-61. 

FIFTH  WEEK 

591.  Give  the  "  Second  Reader,"  Nos.  62-78. 

SIXTH  WEEK 

592.  Give  the  "  Second  Reader,"  Nos.  79-95. 

SEVENTH  WEEK 

593.  Give  the  "  Second  Reader,"  Nos.  96-114. 

EIGHTH  WEEK 

594.  Give  the  "Second  Reader,"  Nos.  115-134. 

NINTH  WEEK 

595.  Give  the  "  Second  Reader,"  Nos.  135-141. 

596.  The  Rhythmic  Type  Four,  or,  as  it  is  briefly  called  in 
teaching,  Type  Four,  consists  of  four  equal  tones  to  the  beat,  and 
in  all  quarter  measures  is  represented  by  four  sixteenth  notes, 


thus : 

597.  Teach  Type  Four  by  imitation  as  follows : 

On  any  pitch,  as  eb,  with  any  syllable,  as  do,  in  exact  time,  sing 

for  the  class  Type  One  four  times,  metronome  about  69,  accenting 

all  tones  equally,  thus : 


± 


Do         do          do          do 


114 


MUSIC  IN  THE  PUBLIC  SCHOOLS 


Ask  the  class  to  imitate  this  and  tell  what  they  have  sung. 

With  the  same  pitch  syllable  and  tempo,  and  the  same  number 
of  beats,  sing  for  the  class  four  equal  tones  to  the  beat,  accenting 
the  first  tone  only  of  each  beat,  thus : 


Do  do  do  do       do  do  do  do       do  do  do  do       do  do  do  do 


Ask  the  class  to  imitate  this;  insist  that  it  be  sung  in  exact 
time  and  that  the  first  tone  of  each  beat  be  accented.  When  this 
has  been  done  correctly,  inform  the  class  that  each  do  do  do  do 
is  made  up  of  four  equal  tones  to  the  beat  and  is  called  Type  Four. 

Eepresent  Type  four  in  the  same  exercise  on  the  blackboard, 
thus: 


EE3 

irhl/ 

2= 

! 

i  1  — 

—  i  — 

—  H- 

a 

Tell  the  class  that  each  group  of  notes  represents  Type  Four  and 
consists  of  four  sixteenth  notes. 

Give  the  pitch  of  II?  and  ask  the  class  to  sing  the  scale  down- 
ward with  Type  Four  for  each  tone,  using  the  sol-fa  syllables  or 
any  common  syllable,  as  loo.  As  they  near  the  end  of  the  exercise 
do  not  allow  them  to  hasten  the  tempo. 

When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus : 
b 


i      i  —  1 


Let  the  class  sing  Exercises  a  and  b  from  the  blackboard  until 
the  regular  succession  of  Type  Four  has  become  familiar. 

598.  Rhythmic  Dictation.  Give  any  pitch,  as  eb,  and  any  syl- 
lable, as  do,  and  dictate  the  following  rhythmic  exercises : 


FIFTH  YEAR 

Type  One  twice  and  Type  Four  twice. 
Type  One,  Type  Four  twice,  and  Type  One. 
Type  One,  Type  Two,  Type  Four,  and  Type  One. 
Type  One,  Type  Four,  Type  Two,  and  Type  One. 
Type  Two,  Type  Four,  and  Double  Type. 
Double  Type,  Type  Four,  and  Type  One. 
Figure  One,  Type  Four,  and  Type  One,  etc. 
599.  Give  the  "  Second  Reader,"  Nos.  142-153. 


115 


Type  Two  in 
f  measure 


TENTH  WEEK 

600.  Give  the  "  Second  Reader,"  Nos.  154-166. 

601.  Terms  used  to  express  Uneven  Tempo.    Teach  rallentando,  Terms  of 
"  becoming  slower,"  and  a  tempo.  "  return  to  first  rate  of  speed."  raiien- 

tando,  a 
tempo 

ELEVENTH  WEEK 

602.  Give  the  "Second  Reader,"  Nos.  167-170. 

603.  The  Rhythmic  Type  Four  a,  or,  as  it  is  briefly  called  in 
teaching,  Type  Four  a,  consists  of  three  unequal  tones  represented 

by  an  eighth  note  followed  by  two  sixteenth  notes,  thus :   J     Jj 

604.  From  Type  Four  develop  Type  Four  a  as  follows : 
Represent  on  the  blackboard  Type  Four,  thus : 


Ask  the  class  to  sing  it ;  then  tie  the  first  two  notes,  thus : 


Ask  the  class  to  sing,  joining  the  first  two  tones  together.  When  Type  Four  a 
this  exercise  has  been  sung  correctly,  inform  them  that  they  have  jj>eypre.8ep  e, 
sung  Type  Four  a.  *  * 

Represent  it  on  the  blackboard,  thus : 


116  MUSIC  IN  THE  PUBLIC   SCHOOLS 

Tell  the  class  that  these  notes  represent  Type  Four  a,  and  are 
an  eighth  note  and  two  sixteenth  notes. 

Give  the  pitch  of  ib  and  ask  the  class  to  sing  the  scale  down- 
ward with  Type  Four  a  for  each  tone,  using  the  sol-fa  syllables,  or 
any  common  syllable,  as  loo.  As  they  near  the  end  of  the  exercise 
do  not  allow  them  to  hasten  the  tempo.  Insist  that  the  first  tone 
of  every  beat  be  accented. 

When  this  has  been  sung  correctly  represent  it  on  the  black- 
board, thus : 


Let  the  class  sing  this  exercise  until  the  regular  succession  of 
Type  Four  a  has  become  familiar  to  them. 

605.  Rhythmic  Dictation.    Give  any  pitch,  as  et>,  and  any  syl- 
lable, as  do,  and  dictate  the  following  rhythmic  exercises : 

Type  Four,  Type  Four  a,  Type  Four,  and  Type  One. 
Type  Two,  Type  Four  a,  Type  Four,  and  Type  One. 
Type  One,  Type  Four  a,  Type  Four,  and  Type  One. 
Type  Four  a  twice,  Type  Two,  and  Type  One. 
Type  Two,  Type  Four,  Type  Four  a,  and  Type  One. 
Figure  One,  Type  Four  a,  and  Type  One. 
Double  Type,  Type  Four  a,  and  Type  Two,  etc. 

606.  Give  the  "  Second  Eeader,"  Nos.  171-180. 

TWELFTH  WEEK 

607.  Give  the  "  Second  Eeader,"  Nos.  181-190. 

608.  The  Khythmic  Group  Beat  Two  modified,  or,  as  it  is  briefly 
called  in  teaching,  Group  Two  modified,  occurs  in  |  measure  and 
is  represented  by  a  quarter  note  followed  by  two  sixteenth  notes, 

thus:    j       «n 

609.  From  Group  Two  develop  Group  Two  modified,  as  follows ; 
Represent  on  the  blackboard  Group  Two,  thus: 


FIFTH  YEAR  117 

Ask  the  class  to  sing  it ;  then  expand  the  last  eighth  note  into 
two  sixteenth  notes,  thus : 


Ask  the  class  to  sing,  separating  the  last  tone  of  Group  Two  Group  TWO 
into  two  equal  tones,  and  tell  them  that  the  notes  in  the  last  exer-  represented 

by     I        J-ja 

cise  represent  Group  Two  modified,  and  are  a  quarter  note  and       J    Jj 
two  sixteenth  notes. 

610.  Give  the  "  Second  Reader,"  Nos.  191-194 

THIRTEENTH  WEEK 

611.  Give  the  "  Second  Reader,"  Nos.  195-200. 

612.  The  Rhythmic  Type  Four  b,  or,  as  it  is  briefly  called  in 
teaching,  Type  Four  b,  consists  of  three  unequal  tones,  represented 

by  two  sixteenth  notes  followed  by  an  eighth  note,  thus :  j3     J 

613.  From  Type  Four  develop  Type  Four  b  in  the  same  manner  Type  Four  ft 
that  Type  Four  a  is  developed  from  Type  Four,  §  604,  except  that  by    L_|      | 
in  this  type  the  last  two  notes  of  Type  Four  are  tied  instead  of  4 
the  first  two  notes. 

614.  Give  the  "  Second  Reader,"  Nos.  201-211. 

FOURTEENTH  WEEK 

615.  Give  the  "Second  Reader,"  Nos.  212-224. 

FIFTEENTH  WEEK 

616.  Give  the  "  Second  Reader,"  Nos.  225-231. 

617.  The  Rhythmic  Type  Four  modified,  or,  as  it  briefly  called 
in  teaching,  Type  Four  modified,  consists  of  two  unequal  tones, 
represented  by  a  dotted  eighth  note  followed  by  a  sixteenth  note, 

thus:  J7^ 

618.  From  Type  Four  develop  Type  Four  modified  in  the  same  Type  Four 
manner  that  Type  Four  a  is  developed  from  Type  Four,  §  604,  represented 
except  that  in  this  type  the  first  three  notes  of  Type  Four  are  tied 
instead  of  the  first  two  notes. 


118 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


619.  Give  the  "  Second  Reader,"  Nos.  232-243. 

620.  Teach  marcato,  "  distinct,  emphasized." 

SIXTEENTH  WEEK 

621.  Give  the  "  Second  Reader,"  Nos.  244-254. 

SEVENTEENTH  WEEK 

622.  The   Rhythmic  Group  Beat  Three  modified,  or,  as  it   is 
briefly  called  in  teaching,  Group  Three  modified,  consists  of  three 
unequal  tones  of  |  measure,  represented  by  a  dotted  eighth  note, 

a  sixteenth  note,  and  an  eighth  note,  thus :  J  •  «J  J 

623.  From  Group  Three  develop  Group  Three  modified  as  follows: 
Represent  Group  Three  on  the  blackboard,  thus : 


Ask  the  class  to  sing  it;  then  expand  the  second  eighth  note 
into  two  sixteenth  notes,  thus : 


Ask  the  class  to  sing,  separating  the  second  tone  of  Group  Two 
into  two  equal  tones ;  then  tie  the  notes,  thus : 


Group  Three  Ask  the  class  to  sing,  joining  the  first  tones  together.  When 
represented  this  exercise  has  been  sung  correctly,  inform  them  that  they  have 
sung  Group  Three  modified. 

Represent  it  on  the  blackboard,  thus : 

± 


Tell  the  class  that  these  notes  represent  Group  Three  modified, 
and  are  a  dotted  eighth  note,  a  sixteenth  note,  and  an  eighth  note. 


FIFTH  YEAR 


119 


624.  Give  the  "  Second  Reader,"  Nos.  255-259. 

625.  The  Rhythmic  Type  Three,  or,  as  it  is  briefly  called  in 
teaching,  Type  Three,  consists  of  three  equal  tones  to  the  beat,  and 

in  all  quarter  measures  is  represented  by  the  triplet,  thus  :  J   J   J 

3 

626.  Teach  Type  Three  by  imitation  as  follows : 

On  any  pitch,  as  eb,  and  with  any  syllable,  as  do,  in  exact  time, 
sing  for  the  class  Type  One  four  times,  metronome  about  69, 
accenting  all  tones  equally,  thus : 


do    do     do 


Ask  the  class  to  imitate  this  and  tell  what  they  have  sung. 

With  the  same  pitch,  syllable,  and  tempo,  sing  for  the  class  the 
same  number  of  beats,  with  three  equal  tones  to  the  beat,  accenting 
the  first  tone  only  of  each  beat,  thus : 


When  this  typr    n 


Do  do  do  do  do  do  do  do  do  do  do  do 


Ask  the  class  to  imitate  this ;  insist  that  it  be  sung  in  exact  Type  Three 
time  and  that  the  first  cone  of  each  beat  be  accented, 
has  been  done  correctly,  inform  the  class  that  each  do  do  do  is 
three  equal  tones  to  the  beat  and  is  called  Type  Three. 

Represent  Type  Three  in  the  same  exercise  on  the  blackboard, 
thus: 


j     |     i 


Tell  the  class  that  each  group  of  notes  represents  Type  Three 
and  is  a  triplet. 

Give  the  pitch  of  §b  and  ask  the  class  to  sing  the  scale  down- 
ward with  Type  Three  for  each  tone,  using  the  sol-fa  syllables,  or 
any  common  syllable,  as  loo.  As  they  near  the  end  of  the  exercise 
do  not  allow  them  to  hasten  the  tempo. 


120 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


When  this  has  been  sung  correctly,  represent  it  on  the  black- 
board, thus : 


627.  Rhythmic  Dictation.    Give  any  pitch,  as  eb,  and  any  syl- 
lable, as  do,  and  dictate  the  following  rhythmic  exercises : 

Type  One  and  Type  Three. 

Type  One  and  Type  Two. 

Type  One,  Type  Two,  Type  One,  and  Type  Three. 

Type  One,  Type  Three,  Type  One,  and  Type  Two. 

Type  One,  Type  Three,  Type  Two,  and  Type  One. 

Type  One,  Type  Two,  Type  Three,  and  Type  One. 

628.  Let  the  class  sing  the  following  exercises  from  the  black- 
board : 


=p= — *- 


-T- 


FIFTH  YEAR 
629.  Give  the  "  Second  Reader,"  Nos.  260-268. 


121 


EIGHTEENTH  WEEK 

630.  Give  a  review  of  the  "  Second  Reader,"  Parts  I  and  II. 
Let  the  class  arrange  several  song  programmes  and  render  them. 

For  suggestions  see  §§  668-673. 

631.  Call  the  attention  of  the  class  to  the  fact  that  when  there  Location  of 
is  one  sharp  in  the  key  signature  it  is  found  on  I ;  when  there  are  the  key 

=  _  signature 

two  sharps  in  the  key  signature  they  are  on  f  and  C ;  three  sharps, 
on  I,  C,  and  g ;  four  sharps,  on  I,  c,  g,  and  d,  and  so  on. 

632.  Call  the  attention  of  the  class  to  the  fact  that  when  there  Location  of 
is  one  flat  in  the  key  signature  it  is  found  on  b ;  when  there  are  key  signature 
two  flats  in  the  key  signature  they  are  on  6  and  6 ;  three  flats,  on 

6,  6,  and  a ;  four  flats,  on  b,  I,  a,  and  d,  and  so  on. 

NINETEENTH  WEEK 

633.  From  the  progression  8  7  8  as  a  pattern,  develop  the  pro-  intermediate 
gressions  2  #  1  2,  3  #  2  3,  6  #  5  6,  and  7  #  6  7,  in  which  are  the  JjJJsIt'f!*' 
remaining  intermediate  sharp  tones  represented  by  $1,  $2,  $5,  and  progression 
$6  respectively,  as  follows : 

Place  on  the  blackboard  this  exercise : 


fftW         I 

j 

3-     -i 

:  z^                j 

VMJ4- 

i 

J           J          J 

J         V-      . 

n 

*" 

-9-        * 

V 
1            | 

d, 

1 

\ 

1 

_i                        J 

13                  J 

Require  the  class  to  sing  the  first  measure  and  the  first  note  of 
the  second  measure.  Ask  them  to  sing  8  7  8  on  the  pitch  of  2  and 
call  the  tones  re  di  re.  When  done  insert  the  sharp  and  write 
underneath  the  syllable  di ;  the  first  two  measures  will  appear  thus : 


^^ 


^T 

di 


122 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


Then  require  the  class  to  sing  the  first  two  measures  and  the 
first  note  of  the  third  measure,  and  immediately  afterwards  878 
on  the  pitch  of  3,  and  call  the  tones  mi  ri  mi.  When  done  insert 
the  sharp  and  write  underneath  the  syllable  ri. 

Then  require  the  class  to  sing  the  first  five  measures  and  the 
first  note  of  the  sixth  measure,  and  continue  in  like  manner 
with  the  remaining  progressions.  When  these  are  developed  the 
exercise  will  appear  thus: 


Term  of 

expression 

sforzandot> 


/r>» 

1 

-4tf4  —  1— 

—  1  f—  \— 

i 

LjgZ3r__L 

^3  —  ^~  ' 

h—  £  1      p 

di 

r 

'. 

:i=z* 


-*•— ^ 


si 


li 


634.  Illustrate  the  fact  that  between  3  and  4  and  7  and  8  an 
intermediate  tone  is  impossible. 

635.  Call  attention  to  the  fact  that  there  are  but  five  interme- 
diate sharps  and  that  the  syllable  of  each  begins  with  the  first 
letter  of  the  major-scale  syllable  and  ends  with  i. 

636.  Give  the  "  Second  Reader,"  Nos.  269-280. 

637.  In  the  "  Second  Reader,"  No.  272,  by  using  the  progres- 
sion 6  7  8  as  a  pattern,  the  class  will  learn  readily  the  progression 
3  #4  5. 

638.  In  the  "  Second  Reader,"  No.  277,  by  using  the  progres- 
sion 5  4  3  as  a  pattern,  the  class  will  learn  readily  the  progression 
8b7  6. 

639.  Review  dynamics  p,pp,  mp,  mf,f,ff,  and  crescendo.   Teach 
>,  sforzando,  "  with  special  emphasis." 

TWENTIETH  WEEK 

640.  Give  the  "  Second  Reader,"  Nos.  281-293. 

TWENTY-FIRST  WEEK 

641.  Give  the  "  Second  Reader,"  Nos.  294-306. 


FIFTH  YEAR  123 

TWENTY-SECOND  WEEK 

642.  Let  the  class  now  begin  to  use  measure  accents.    These  Measure 

accent! 

include  the  strong  accent  which  falls  on  the  first  beat  of  every 
measure,  and  a  weaker  accent  in  *  and  jj  measures  which  falls  on 
the  first  beat  of  the  last  half  of  the  measure.  Do  not,  however,  allow 
measure  accents  to  displace  the  use  of  the  beat  accent  with  which 
the  class  is  now  thoroughly  familiar,  and  which  is  always  most 
useful  in  sight  singing. 

643.  Give  the  "  Second  Reader,"  Nos.  307-320. 

TWENTY-THIRD  WEEK 

644.  Let  the  class  repeat  the  rules  learned  in  §§  544,  547,  sub- 
stituting "any  $  "  in  place  of  "  $4  "  and  "  any  \>  "  in  place  of  "  b7." 

645.  Give  the  "  Second  Reader,"  Nos.  321-332. 

TWENTY-FOURTH  WEEK 

646.  Direct  the  class  to  sing  a  double  sharp,  x ,  with  the  same  Double 
tone  and  syllable  as  an  intermediate  $. 

647.  Give  the  "  Second  Reader,"  Nos.  333-348. 

TWENTY-FIFTH  WEEK 


648.  Inform  the  class  that  the  sign  tjjj  in  the  "  Second  Reader,"  cancel 
No.  359,  is  a  cancel  for  the  x .  8°Ldr°P?{j 

649.  Give  the  "  Second  Reader,"  Nos.  349-363. 

TWENTY-SIXTH  WEEK 

650.  Give  the  "  Second  Reader,"  Nos.  364-377. 

651.  Review  the  dynamic  signs  p,  pp,  mp,  mf,f,  ff,  crescendo,  sign  of 

and  sforzando.    Teach    ~      ==— .  diminuendo,  "gradually  les-  3- 

sening  the  tone."  diminuendo 

4 

TWENTY-SEVENTH  WEEK 

652.  f!ive  the  "  Second  Reader,"  Nos.  378-392. 


124  MUSIC  IN  THE  PUBLIC   SCHOOLS 

TWENTY-EIGHTH  WEEK 

653.  Give  a  review  of  the  "  Second  Eeader,"  Part  III.    Let  the 
class  arrange  several  song  programmes  and  render  them.    For  sug- 
gestions see  §§  668-673. 

654.  Call  the  attention  of  the  class  to  that  part  of  their  study 
of  arithmetic  which  deals  with  the  addition  and  subtraction  of 
common  fractions  and  inform  them  that  the  time  values  of  notes 
in  music  may  be  added  and  subtracted  in  a  similiar  manner ;  for 
example:  1  and  £  are  f  or  L 

and  so 

J  and  J  are  J      J  or  d 
Place  on  the  blackboard  the  following : 

tz>  =  1,  or  a  whole  note 

c3  —  \  note 


J  = 


note 


4   =  \  note 
J^  =  -j^g-  note 

Explain  that  the  time  value  of  one  whole  note  is  equal  to  the 
time  values  of  two  half  notes,  or  four  quarter  notes,  or  eight  eighth 
notes,  or  sixteen  sixteenth  notes. 

Ask  the  following  questions  : 

One  half  note  is  equal  to  how  many  quarter  notes  ?  eighth 
notes  ?  sixteenth  notes  ? 

One  quarter  note  is  equal  to  how  many  eighth  notes  ?  sixteenth 
notes? 

One  eighth  note  is  equal  to  how  many  sixteenth  notes  ? 

One  quarter  note  and  one  quarter  note  are  equal  to  what 
note  ?  etc. 

655.  Place  on  the  blackboard  the  following : 

I  „  ,  I  n 

c2  =  f  and  tf?  •  =  I 

4  =  \  and   ^  .  =  4 


**  =  -A 


and  4  .  =  T! 


__ 
16 


FIFTH  YEAR  125 

Call  the  attention  of  the  class  to  the  fact  that  f ,  the^y  •  >  is  one  Relative 

value  of 

half  more  in  time  value  than  |,  the^J ;  and  that  f,  the  J  • ,  is  one 
half  more  in  time  value  than  |,  the  0 ;  also  that  fy,  *• ,  is  one  half 

more  in  time  value  than  fy,  the  J;  and  therefore  that  a  dot  set 
after  a  note  prolongs  the  time  value  of  the  note  by  one  half. 

656.  Refer  the  class  to  any  \  measure  melody  in  the  "  Second  The  reason 
Reader,"  as  No.  273,  and  call  their  attention  to  the  fact  that  if  all  signature 
notes  and  rests  of  any  one  measure  be  added,  the  result  in  time 

value  will  equal  two  quarter  notes.  This  is  the  reason  for  the  time 
signature  |. 

Refer  the  class  to  No.  270,  and  in  like  manner  show  the  reason 
for  the  time  signature  \ ;  in  like  manner  No.'  269  for  |  time  sig- 
nature; No.  296  for  %  time  signature;  No.  283  for  |  time  signature; 
No.  279  for  |  time  signature;  and  No.  291  for  |  time  signature. 

657.  Refer  the  class  to  No.  271  and  require  them  to  add  that  Fragmentary 

measures 

part  of  a  measure  before  the  first  bar  and  that  part  of  a  measure 
at  the  end  of  the  melody,  and  to  notice  that  the  result  is  a  com- 
plete measure.  Further  illustrations  of  this  are  in  Nos.  275,  282, 
288,  298,  332,  and  381. 

TWENTY-NINTH  WEEK 

658.  Give  the  "  Second  Reader,"  Nos.  393-407. 

659.  Give  a  review  of  marcato.   Teach  marziale,  "in  the  style  Term  of 

.  ...  expression 

Of  a  march.  marmiale 

THIRTIETH  WEEK 

660.  Give  the  "  Second  Reader,"  Nos.  408-417. 

THIRTY-FIRST  WEEK 

661.  Give  the  "  Second  Reader,"  Nos.  418-430. 

THIRTY-SECOND  WEEK 

662.  Give  the  "  Second  Reader,"  Nos.  431-442. 


126  MUSIC  IN  THE  PUBLIC   SCHOOLS 

THIRTY-THIRD  WEEK 

663.  Give  the  "  Second  Reader,"  Nos.  443-455. 

664.  Give  a  review  of  phrasing  and  dynamic  signs  and  of  the 
terms  p,  pp,  mp,  mf,  f,  ff,  crescendo,  diminuendo,  and  sforzando  ; 
terms  used  to  express  even  tempo, — a  tempo,  presto,  allegro,  alle- 
gretto, moderato,  andante,  andantino,  and  lento ;  term  used  to 
express  uneven  tempo, — rallentando  ;  terms  used  to  express  man- 
ner and  feeling, —  con  grazia,  con  espressione,  con  moto,  animato, 
tranquillo,  and  vivace;  and  terms  used  to  express  march  tempo, 
—  marcato  and  marziale. 

•   THIRTY-FOURTH  WEEK 

665.  Give  the  "  Second  Reader,"  Nos.  456-463. 

THIRTY-FIFTH  WEEK 

666.  Give  a  review  of  the  "  Second  Reader,"  Part  IV.    Let  the 
class  arrange  several  song  programmes  and  render  them.    For  sug- 
gestions see  §§  668-673. 

THIRTY-SIXTH  WEEK 

667.  Give  a  general  review  of  the  "  Second  Reader "  of  the 
New  Educational  Music  Readers.    Let  the  class  arrange  several 
song   programmes    and    render   them.    For    suggestions    see   the 
following : 

668. 

1.  "Heroes" German  Folk  Tune 

Page  26 

2.  "My  Mother" E.  Lassen 

Page  27 

3.  "  Witch  Hazel  " .     Clayton  Johns 

Page  27 

4.  "  Lullaby  " Gaelic  Folk  Song 

Page  23 

5.  "  A  Game  of  Tag  " Philip  H.  Goepp 

Page  24 

6.  "  Echo  Song  " Schubert 

Page  14 

7.  "  The  Mountain  Peak  " Mendelssohn 

Page  22 


FIFTH  YEAR  127 

669. 
1.  "Guess" English  Folk  Tune 

Page  30 

•J.  "  The  Jolly  Whistler  " Italian  Folk  Tune 

Page  33 

3.  "  The  Diamond  Dwarfs  " Philip  II.  Goepp 

Page  34 

4.  "  An  Old  Time  Dance  " Carlo  Rossi 

Page  33 

5.  "  Keeping  Time  " C.  B.  Edmunds 

Page  36 

6.  "  Ojibway  Lullaby  " Benjamin  Whelpley 

Page  36 

7.  "  King  Winter  " M.  White 

Page  37 

670. 

1.  "  Christmas  Time  " John  Herman  Loud 

Page  40 

2.  "  The  Snow  Bird  " M.  B.  Willis 

Page  39 

3.  "The  New  Year" C.B.Edmunds 

Page  42 

4.  "Christmas" Mozart 

Page  42 

5.  "  A  Winter  Night  " Beethoven 


6.  "  The  Mermaid's  Home  " Sicilian  Folk  Song 

Page  46 

7.  "  The  Song  my  Mother  Sings  "     .......       English  Folk  Tune 

Page  43 

671. 

1.  "March  —  Tramp,  Tramp,  Tramp" Leo  Delibes 

Page  49 

2.  "The  Snow  Man  " Mozart 

Page  49 

3.  "  The  Hurdy-Gurdy  Man  " Philip  H.  Goepp 

Page  52 

4.  "A  Laugh" J.  Ziska 

Page  54 

5.  "  Awake  " Franz  Ries 

Page  54 

6.  "  Little  Words  " W.  W.  Gilchrist 

Page  48 

7.  "  The  Drummer  Boy  " Harvey  Worthington  Loomis 

Page  56 

672. 

1.  "  The  American  Flag Giuseppe  Giordan! 

Page  65 

2.  "  Lullaby  " F.  Remsen 

Page  63 

3.  "Best" Philip  H.  Goepp 

Page  62 

4.  "  The  Coming  of  Spring  " M.  White 

Page  60 


128  MUSIC  IN  THE  PUBLIC   SCHOOLS 

5.  "  Flowers  Asleep  " Rinaldo  Hahn 

Page  65 

6.  "  Patriotism  " Haydn 

Page  67 

7.  "  A  Circus  Every  Day  " M.  B.  Willis 

Page  74 

673. 

1.  "  March  —  The  Camping  Party  "       J.  Stern 

Page  87 

2.  "  Santa  Lucia  " Neapolitan  Folk  Song 

Page  96 

3.  "  Sailing  " F.  Paolo  Tosti 

Page  104 

4.  "  June  " Emil  Karl  Janser 

Page  101 

5.  "  Slumber  Song  " Brahms 

Page  108 

6.  "  The  Sandman  " L.  Liebe 

Page  107 

7.  "  Vacation  Song  " Verdi 

Page  110 

674.  Brief  suggested  lesson  programmes  for  any  week  of  the 
fifth  year,  as,  for  example,  the  sixth  week,  §  592,  are  here  given. 

MONDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  "Second  Reader,"  Nos.  79-81. 

4.  Musical  interpretation  of  No.  79. 

TUESDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Sight  singing  and  musical  interpretation,  "Second  Reader,"  Nos. 

82-83. 
WEDNESDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Sight  singing,  "  Second  Reader,"  Nos.  84-88. 

4.  Musical  interpretation  of  No.  85. 
THURSDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Sight  singing,  "  Second  Reader,"  Nos.  89-92. 

4.  Musical  interpretation  of  No.  89. 
FRIDAY 

1.  Breathing  Exercise  III. 

2.  Voice  Drill  XXXIX,  a. 

3.  Sight  singing  and  musical  interpretation,  "Second  Reader,"  Nos. 

93-95. 


SIXTH  YEAE 

SYNOPSIS 
Voice  Training 
Vocalization  of  material  in  this  year's  work. 

Sight  Singing 

Tune.  All  intermediate  sharps  and  flats  in  each  of  the  nine  common  keys 
approached  or  followed  by  skips  and  in  chromatic  scale  fragments. 

The  characters  bb,  fab,  683  and  following  sections. 

Melodies  in  the  minor  mode,  752.  . 

Time.    Type  Three  modified  represented  by  4    8    4,  709. 

|  measure,  711.    y  measure,  715. 

Figure  Two  represented  by  0  •  •       ^  ,717.    J  measure,  722. 
Part  Song.    Three-part  song,  749. 

Musical  Forms 

Definitions  and  illustrations  of  the  song,  the  folk  song,  the  folk  tune, 
the  German  folk  tune,  the  Italian  folk  tune,  the  Scandinavian  folk  tune, 
the  Norwegian  folk  tune,  the  Hungarian  folk  tune,  and  the  Scotch  folk 
tune.  Definitions  of  "opera,"  "grand  opera,"  "comic  opera,"  "oratorio," 
and  "cantata,"  with  excerpts  from  each. 

Musical  Interpretation 

Additional  terms  of  expression  indicating  uneven  tempo,  — poco  piu  moto, 
ritardando,  and  accelerando. 

Additional  terms  used  to  express  manner  and  feeling,  —  semplice  and 
dolce. 

Additional  terms  xised  to  express  march  and  dance  tempo,  —  alia  marcia, 
ben  marcato,  con  moto  di  schottische,  and  tempo  di  valse. 

Modifying  words  used  in  terms  of  expression,  —  assai,  meno,  molto,  non 
troppo,  piu,  and  aempre. 

From  the  study  of  the  spirit  of  the  music  and  the  signs  and  terms  of 
musical  expression,  the  musical  interpretation  of  all  material  in  this  year's 
work. 

Musical  Conceptions 

The  more  general  harmonic  characteristics  of  noted  and  great  composers 
of  the  different  national  schools  of  music  are  introduced  in  selections  from 

129 


130  MUSIC  IN  THE  PUBLIC   SCHOOLS 

famous  musical  art  works,  and  in  famous  instrumental  themes,  songs, 
and  part  songs  ;  also  the  essentials  of  good  arrangement  from  musical  art 
works,  namely,  a  true  reflection  of  the  spirit  of  the  original  in  melody  and 
harmony,  a  melodic  progression  for  each  and  every  part. 

Three-part  harmony  is  introduced. 

The  brilliant  and  varied  color  impression  of  music  brought  about  by 
the  effective  use  of  the  intermediate  sharps  and  flats  is  exemplified. 

There  is  introduced  a  musical  representation  of  eight  nationalities,  — 
German,  French,  Italian,  English,  Swiss,  Russian,  Bohemian,  and  Ameri- 
can,-^-including  forty-eight  composers,  the  more  important  of  whom  are 
Franz  Abt,  Francois  Behr,  Jacques  Blumenthal,  Carl  Bohm,  Frederic  Field 
Bullard,  G.  Donizetti,  G.  Faure,  Arthur  Foote,  A.  R.  Gaul,  Gluck,  Philip 
H.  Goepp,  Henry  K.  Hadley,  J.  F.  Halevy,  Erik  Meyer-Helmund,  Thomas 
Koschat,  E.  R.  Kroeger,  Harvey  Worthington  Loomis,  Mendelssohn, 
Mozart,  Giro  Pinsuti,  Carl  Reinecke,  Joseph  Rheinberger,  Rossini,  Schu- 
bert, Henry  Smart,  and  Verdi  ;  and  thirty-four  poets  in  song,  the  more 
important  of  whom  are  William  Allingham,  Henry  Holcomb  Bennett, 
Sophia  S.  Bixby,  Will  Carleton,  Philip  Doddridge,  Mary  Mapes  Dodge, 
Nathan  Haskell  Dole,  Louis  C.  Elson,  Gertrude  E.  Heath,  Ella  Higgin- 
son,  Ray  Barton  Manbert,  Ella  Mann,  Adelaide  Proctor,  E.  H.  Thomas, 
Isaac  Watts,  Carolyn  Wells,  and  Whittier. 

Suggested  song  programmes,  756-759. 

Material 

For  pupils'  use,  the  "Third  Reader"  entire  for  voice  training,  sight 
singing,  musical  interpretation,  and  musical  conceptions. 
For  teachers'  use,  "Music  in  the  Public  Schools." 


SIXTH  YEAR 

PLAN  FOR  THIRTY-SIX  WEEKS'  WORK 

FIRST  WEEK 

675.  The  teacher  is  urged  to  follow  the  fourth-year  "general 
suggestions  "  on  voice  training  and  musical  interpretation,  §§  492— 
497,  as  they  apply  equally  to  the  work  of  both  years. 

676.  The   first   twenty-seven    pages  of   the    "  Third   Reader " 
consist  of  a  review  of  the  principles  presented  in  the  preceding 
readers. 

Give  the  "  Third  Reader,"  Nos.  1-8. 

SECOND  WEEK 

677.  Give  the  "  Third  Reader,"  Nos.  9-13. 

678.  Call  the  attention  of  the  class  to  any  poem,  as  that  of  song  defined 
No.  13,  "  Bird  of  the  Azure  Wing."    Ask  them  to  read  it  and  to 

notice  that  it  is  especially  appropriate  for  singing,  and  may  there- 
fore be  called  lyric  verse.  Now,  call  their  attention  to  another  poem, 
as  that  of  No.  15,  "  Magicians."  They  will  observe  that  this  poem 
tells  a  story  and  is  therefore  called  narrative  verse,  and  that  Nos. 
13  and  15  are  melodies  or  tunes  united  with  lyric  or  narrative 
verse.  Hence  the  definition,  "  A  melody  or  tune  united  with  lyric 
or  narrative  verse  is  a  song." 

THIRD  WEEK 

679.  Give  the  "  Third  Reader,"  Nos.  14-18. 

680.  Give  a  review  of  the  term  used  to  express  uneven  tempo,  —  Terms  of 
rallentando.   Teach  poca  piu  moto,  "  somewhat  faster,"  and  ritar-  polo  piu 
dando,  "  slower."    Give  a  review  of  the  terms  used  to  express  ritar'dando 
manner  and  feeling, —  con  grazia,  con  espressione,  con  moto,  animato, 

131 


132 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


Term  of          tranquillo.  and  vivace.    Teach  semplice.  "simply."    Refer  the  class 

expression 

semplice       to  the  "Third  Reader,"  page  127,  for  the  definition,  and  to  No.  17 
for  illustration. 

FOUETH  WEEK 

681.  Give  the  "Third  Reader,"  Nos.  19-23. 

••  opera,"          682.  Ask  the  class  to  notice  that  No.  16  in  last  week's  lesson 
opera, "and    is  a  selection  from  a  comic  opera  and  that  No.  20  in  this  week's 

' '  comic 

opera ' '          lesson  is  a  selection  from  a  grand  opera,  after  which  let  them  turn 
defined 

to  the  glossary  of  the  "  Third  Reader,"  page  126,  and  learn  the 

meaning  of  "opera,"  "grand  opera,"  and  "comic  opera." 

FIFTH  WEEK 
683.  Place  on  the  blackboard  the  following : 


With  this  as  a  staff  representation  give  the  pitch  of  e  and 
dictate  orally  and  from  the  staff,  as  shown  in  §  42  and  §  193,  the 
following  phrases,  which  introduce  in  melodic  progression  inter- 
mediate $4  preceded  by  a  step  and  followed  by  a  skip,  and  vice 
versa. 

5  #46  #45  si  5  #4  7  #4  5  58  5  #4  8  #4  5  5  i 
5JJ42JJ4558  5jJ43#4558  5  #4  2  #4  5  5  i 
5  J4  1  #4  553 

684.  For  an  easy  introduction  to  each  of  these  phrases  require 
the  class  to  sing  the  first  and  second,  then  the  first  and  third,  tones 
of  each  group ;  for  example : 

5  J4,  56,  5  #4  6  #4  5  3  i 

685.  Give  the  "  Third  Reader,"  Nos.  24-31. 

686.  Give  a  review  of  marcato  and  marziale.   Teach  alia  marcia, 
"  in  the  manner  of  a  march  "  ;  ben  marcato,  "well  marked  " ;  and  con 
moto  di  schottische,  "with  the  movement  of  a  schottische."    Refer 
the  class  to  the  "Third  Reader,"  page  127,  for  the  definitions,  and 
to  Nos.  4,  27,  and  29  for  illustrations. 


SIXTH   YEAR  133 

SIXTH  WEEK 

687.  Give  a  review  of  the  dictation  of  intermediate  $4,  §  683. 

688.  Place  on  the  blackboard  the  following  staff  representation : 

*&= 


Give  the  pitch  of  6  and  dictate  orally  and  from  the  staff  the  follow-  Dictation  of 
ing  phrases,  which  introduce  in  melodic  progression  intermediate  or5 preceded 
$4  in  chromatic  scale  fragments  and  intermediate  $5  preceded  by 
a  step  and  followed  by  a  skip,  and  vice  versa. 

5  #4  7  #4  5  #4  3  3  B  #4  5  4  J4  5  5  4  5  #4  4  4  3 

Use  the  following  staff  representation  for  the  remaining  phrases : 


6#57#5636        6#58#56    36        6J}52#5636 
6  JJ5  3  #5  686        6  #5  3  #5  6  #56 

689.  For  an  easy  introduction  to  each  of  these  phrases,  except 
the  chromatic  scale  fragments,  require  the  class  to  sing  the  first 
and  second,  then  the  first  and  third,  tones  of  each   group;  for 
example : 

6  #5,  68,  6  #5  8  #5  6  36 

690.  Give  the  "  Third  Header,"  Nos.  32-38. 

SEVENTH  WEEK 

691.  Give  a  review  of  the  dictation  of  intermediate  #4  and  $5, 
§§  683,  688. 

692.  Place  on  the  blackboard  the  following  staff  representation  :  Dictation  of 

$  i  followed 
or  preceded 
skipwise 


Give  the  pitch  of  5  and  dictate  orally  and  from  the  staff  the  follow- 
ing phrases,  which  introduce  in  melodic  progression  intermediate 


134  MUSIC  IN  THE  PUBLIC  SCHOOLS 

#5  in  a  chromatic  scale  fragment  and  intermediate  §  1  preceded  by 
a  step  and  followed  by  a  skip,  and  vice  versa. 

6  #5  1J5636        3  e  #5  6  5  #5  6         2  #13  #12  si 
2JJ14J1231        2#15#123i         2J16J1253 

Use  the  following  staff  representation  for  the  remaining  phrases : 


2  #1  7  Jl  2  31  2  jfl  6  jfl  2  51 

See  §  689. 

693.  Give  the  "  Third  Reader,"  Nos.  39-46. 

Folksong  694.  Give  a  review  of  the  definition  of  "song."  Ask  the  class  to 

defined  '  learn  the  meaning  of  "  folk  song  "  and  "  folk  tune."  For  the  defi- 
nition refer  them  to  the  glossary  of  the  "  Third  Reader,"  page  126. 
Call  their  attention  to  the  fact  that  the  tune  of  No.  44  originated 
among  the  German  people. 

EIGHTH  WEEK 

695.  Give  a  review  of  the  dictation  of  intermediate  #4,  #5,  and 
fll,  §§  683,  688,  692. 

696.  In  this  and  following  lessons  on  the  dictation  of  inter- 
mediate tones  it  is  suggested  that  there  be  as  great  a  variety  of 
keys  as  possible  in  the  staff  representations.    No  phrase,  however, 
should  be  sung  in  a  key  that  will  carry  the  high  tones  above  I  or 
the  low  tones  below  bi?. 

Dictation  of  $  a      Dictate  orally  and  from  the  staff  the  following  phrases,  which 
preceded         introduce  in  melodic  progression  intermediate  #1,  #2,  and  #6  in 

chromatic  scale  fragments,  and  intermediate  #  2  preceded  by  a  step 

and  followed  by  a  skip,  and  vice  versa. 

2#15#12?i  2#i2l#123  3#25#233i 
3jJ26jj'235i  3  #2  7  #23  6  5  3  #2  1  #2  3  5  8 
3jJ27#235i  i  3#232#23  8  5  6  #6  7  5  8 

See  §  689. 

697.  Give  the  "  Third  Reader,"  Nos.  47-53. 


SIXTH  YEAR 


135 


Terms  of 
tempo 


698.  Give  a  review  of  terms  used  to  express  march  tempo  and 
dance  tempo,  —  marcato,  marziale,  alia  marcia,  ben  marcato,  and 
con  moto  di  schottische.    Teach  tempo  di  valse,  "in  the  time  of  a 
waltz." 

699.  Give  a  review  of  terms  used  to  express  uneven  tempo,  — 
rallentando  and  retardo.    Teach  dccelerando,  "accelerating." 

700.  Give  a  review  of  terms  used  to  express  manner  and  feel-  doice 
ing,  —  con  grazia,  con  espressione,  con  moto,  animato,  trqnyuillo,  and 
vivace.   Teach  dolce,  "  sweet,  soft."    Let  the  class  find  the  illustra- 
tions of  these  terms  and  learn  their  definitions  from  the  glossary 

of  the  "  Third  Reader." 

NINTH  WEEK 

701.  From  the  progression  3  4  3  as  a  pattern,  develop  the  pro-  intermediate 
gressions  1  t>2  1,  5^65,  4  i>5  4,  and  2  i?  3  2,  in  which  are  the  bsmstepw 
remaining  intermediate  flat  tones  represented  by  i?2,  b6,  b5,  and 

t>3  respectively,  as  follows: 

Place  on  the  blackboard  the  following  exercise  : 


l(T\A 

i                r       •     "' 

r         '»         J          *         * 

Vs|J4-               1 

A 

i                i 
ta 

U          ,            i            i 

=flr-d= 

—  EE  —  h 

1  r  1  1  — 

Ask  the  class  to  sing  3  4  3  on  the  pitch  of  8  and  call  it  do  ra 
do.  When  correctly  sung,  insert  in  the  first  measure  of  the  above 
exercise  the  flat  and  write  underneath  the  syllable  ra  and  the  first 
measure  will  appear,  thus : 


Then  require  the  class  to  sing  the  first  three  measures  and  the 
first  note  of  the  fourth  measure,  and  immediately  after  ask  them 
to  sing  3  4  3  on  the  pitch  of  5  and  call  it  sol  la  sol.  When 
correctly  sung,  insert  the  flat  and  write  underneath  the  syllable  13. 


136 


MUSIC   IN   THE  PUBLIC   SCHOOLS 


Then  require  the  class  to  sing  the  first  four  measures  and  the 
first  note  of  the  fifth  measure,  and  continue  in  like  manner  with 
the  remaining  progressions.  When  these  are  developed  the  exercise 
will  appear  thus : 


til 


lii 


3=t^ 


^ 


-J—J-jjr 


sa 


702.  Call  attention  to  the  fact  that  there  are  but  five  intermedi- 
ate flats,  the  same  number  as  intermediate  sharps,  and  that  the 
syllable  of  each  begins  with  the  first  letter  of  the  major-scale 
syllable  and,  with  one  exception,  ends  with  a  ;  the  syllable  of  b  2  is 
ra,  to  distinguish  it  from  the  syllable  of  2,  ra. 

703.  Inform  the  class  that  b5  is  seldom  used. 

704.  Place  on  the  blackboard  the  following  exercise  : 


With  this  as  a  staff  representation,  give  the  pitch  of  ib  and  dic- 
tate orally  and  from  the  staff  the  following  phrases,  which  intro- 
duce in  melodic  progression  intermediate  b2,  b3,  and  b6  preceded 
and  followed  by  steps. 

1  b2   13421  2  b3  25321  5  b6  55678 

705.  Give  the  "  Third  Reader,"  Nos.  54-64. 


TENTH  WEEK 

706.  Give  a  review  of  intermediate  sharps,  §§  683, 688,  692,  696. 
nictation  of          707.  Dictate  orally  and  from  the  staff  the  following  phrases, 

lowed  or  pre-  which  introduce  in  melodic  progression  intermediate  b  7  and  I?  3  in 
ceded  stepwise 

chromatic  scale  fragments,  and  preceded  by  a  step  and  followed  by 

a  skip,  and  vice  versa. 


SIXTH   YEAR  137 


6b7  5b7  668 
6b7  2b7  658 
2b3  Ib3  25  i 
i  2  33  b3  2  i 

6b7  3b7  658 
6  b7  3  b7  658 
2b3  5b3  2  7  i 

6b7  1  b7  688 
8  7  b7  6  5  B  8 
2b3  5  b3  271 

See  §  689. 

708.  Give  the  "  Third  Reader,"  Nos.  65-73. 

709.  The  Rhythmic  Type  Three  modified,  or,  as  it  is  briefly 

called  in  teaching,  Type  Three  modified,  consists  of  two  unequal  represented 

IN  byj    -T 

tones  represented  by  the  triplet,  thus  :  J  „    d  ,  * 

From  Type  Three  develop  Type  Three  modified  in  the  same 
manner  that  Type  Four  a  is  developed  from  Type  Four,  §  603. 

710.  Give  the  "  Third  Reader,"  Nos.  74-77. 

711.  Inform  the  class  that  the  sight  reading  of  |  measure  in- 
volves no  new  principle  ;  that  in  each  |  measure  there  are  three 
groups  instead  of  two  groups,  as  has  been  the  case  heretofore  in 
|  measure. 

712.  Give  the  "  Third  Reader,"  Nos.  78-81. 


ELEVENTH  WEEK 

713.  Give  a  brief  review  of  intermediate  sharps  and  of  b7 
and  b3,  §§  683,  688,  692,  696,  707. 

Dictate  orally  and  from  the  staff  the  following  phrases,  which  Dictation  of 
introduce  in  melodic  progression  intermediate  b6  and  t>2  in  chro-  lowed  or  pre- 

ceded  skipwise 

matic  scale  fragments,  preceded  by  a  step  and  followed  by  a  skip, 
and  vice  versa. 


5b6  4b6  5  53 

5  be  2be  55i 

5  be  i  be  5  5  3 

5  be  8  be  5  53 

5  be  Ibe  5  38 

5  5  6  b6  5  5  8 

1  b2  4b2  1  7  i 

i  i  i  3  2  b2  1 

See  note,  §  689. 

714.  Give  the  "  Third  Reader,"  No.  82. 

715.  Inform  the  class  that  the  sight  reading  of  ^  measure  in- 
volves  no  new  principle  ;  that  in  each  a82  measure  there  are  four 
groups  instead  of  two  groups,  as  has  been  the  case  heretofore  in 
§  measure. 


Figure  Two 
represented 


138 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


716.  Give  the  "  Third  Reader,"  Nos.  83-87. 

717.  The  Rhythmic  Figure  Two,  or,  as  it  is  briefly  called  in 
teaching,  Figure  Two,  is  two  unequal  tones  represented  by  a  doubly 

dotted  quarter  note  followed  by  a  sixteenth  note,  thus  :  J  •  •     ^ 

718.  From  Type  One  and  Type  Four  modified  develop  Figure 
Two  as  follows : 

Represent  Type  One  and  Type  Four  modified  on  the  black- 
board, thus : 


Ask  the  class  to  sing ;  then  tie  the  first  two  notes,  thus : 


Ask  the  class  to  sing,  joining  the  first  two  tones  together.    When 
by""    "j     this  has  been  sung  correctly,  inform  them  that  they  have  sung 
Figure  Two. 

Represent  it  on  the  blackboard,  thus : 


Tell  the  class  that  these  notes  represent  Figure  Two. 
Place  on  the  blackboard 


J.. 


J    J 
\    i 


T5 


Call  the  attention  of  the  class  to  the  fact  that  ^  above  represents 
the  first  dot  and  that  -^g-  represents  the  second  dot.  Let  the  class 
note  further  that  -Jg-  is  one  half  of  ^,  and  therefore  that  the  second 
dot  prolongs  the  time  value  of  the  note  by  one  half  of  the  first  dot. 

719.  Give  the  "Third  Reader,"  Nos.  88-92. 

TWELFTH  WEEK 

720.  Give  a  brief  review  of  intermediate  sharps,  §§683,  688, 
692,  696. 


SIXTH   YEAR  139 

721.  Give  the  "  Third  Reader,"  Nos.  93-99. 

722.  Inform  the  class  that  the  sight  reading  of  £  measure  in-  J  measure 
volves  no  new  principle ;  that  the  reading  of  ^  measure  is  similar 

to  that  of  |  measure.    In  |  measure  Group  Three  is  represented  by 

J      J      0,  Group  Two  \>y  cy    J,  and  Group  One  by  es  • 

723.  Give  the  "  Third  Reader,"  Nos.  100-105. 

THIRTEENTH  WEEK 

724.  Give  a  brief  review  of  intermediate  flats,  §§  704,  713,  717. 

725.  Give  the  "Third  Reader,"  Nos.  106-114. 

726.  Teach  the  following  modifying  words  used  in  terms  of  ex-  Modifying 

.     ,  „  «  i        >»  7,     <(  »  words  in 

pression  :  assat.    very    :  meno,     less    :  molto,    very    :  non  troppo,  terms  of 

7.  ,.  „  ,,i  expression 

jiot  too  much  ;  piu,  a  little  more  ;  and  sempre,  always,  con- 
tinually." Refer  the  class  to  the  "  Third  Reader,"  page  127,  for 
the  definitions. 

FOURTEENTH  WEEK 

727.  Give  the  "Third  Reader,"  Nos.  115-125. 

FIFTEENTH  WEEK 

728.  Give  the  "Third  Reader,"  Nos.  126-138. 

729.  Give  a  review  of  all  the  terms  and  signs  of  expression  that 
have  been  taught  heretofore.    In  the  future  require  the  class  to 
learn  the  meaning  of  each  new  term  as  it  occurs.    Refer  them  to 
the  "Third  Reader,"  page  127,  for  the  definitions. 

SIXTEENTH  WEEK 

730.  Give  the  "Third  Reader,"  Nos.  139-153. 

731.  Give  a  review  of  the  definitions  of  "  song,"  "  folk  song,"  Italian 
and  "folk  tune."    Call  the  attention  of  the  class  to  the  fact  that 

the  tune  of  No.  140  originated  among  the  Italian  people. 

SEVENTEENTH  WEEK 

732.  Give  the  "  Third  Reader,"  Nos.  154-162. 

EIGHTEENTH  WEEK 

733.  Give  the  "Third  Reader,"  Nos.  163-179. 


140  MUSIC  IN  THE  PUBLIC   SCHOOLS 

NINETEENTH  WEEK 

734.  Give  the  "  Third  Header,"  Nos.  180-190. 

TWENTIETH  WEEK 

735.  Give  a  review  of  the  first  sixty-four  pages  of  the  "  Third 
Reader."    Let   the    class  arrange    several  song   programmes  and 
render  them.    For  suggestions  see  §§  756-759. 

TWENTY-FIRST  WEEK 

736.  Give  the  "Third  Reader,"  Nos.  191-203. 

TWENTY-SECOND  WEEK 

737.  Give  the  "Third  Reader,"  Nos.  204-212. 

••oratorio"  738.  Give  a  review  of  the  definitions  of  "  opera,"  "  grand  opera," 
and  "  comic  opera."  Ask  the  class  to  notice  that  No.  204  is  a 
selection  from  an  oratorio ;  then  let  them  learn  the  meaning  of 
"  oratorio."  Refer  them  to  the  glossary  of  the  "  Third  Reader  " 
for  the  definition. 

TWENTY-THIRD  WEEK 

739.  Give  the  "Third  Reader,"  Nos.  213-226. 

TWENTY-FOURTH  WEEK 

740.  Give  the  "  Third  Reader,"  Nos.  227-243. 

TWENTY-FIFTH  WEEK 

741.  Give  the  "  Third  Reader,"  Nos.  244-257. 

TWENTY-SIXTH  WEEK 

742.  Give  the  "  Third  Reader,"  Nos.  258-274. 

TWENTY-SEVENTH  WEEK 

743.  Give  the  "  Third  Reader,"  Nos.  275-285. 

"Cantata"  744.  Give  a  review  of  the  definition  of  "oratorio."  Ask  the 
class  to  notice  that  No.  276  is  a  selection  from  a  cantata,  and  let 


SIXTH  YEAR  141 

them  learn  the  meaning  of  "  cantata."    Refer  them  to  the  glossary 
of  the  "  Third  Reader  "  for  the  definition. 

TWENTY-EIGHTH  WEEK 

745.  Give  the  "  Third  Reader,"  Nos.  286-299. 

TWENTY-NINTH  WEEK 

746.  Direct  the  class  to  sing  a  double  flat,  b\>,  with  the  same  Double  flat, 
tone  and  syllable  as  an  intermediate  flat,  and  inform  them  that  the  cancel,  j" 
sign  t|b  is  a  cancel  for  the  bb. 

747.  Give  the  "Third  Reader,"  Nos.  300-310. 

THIRTIETH  WEEK 

748.  Give  a  review  of  the  "  Third  Reader,"  Part  III.    Let  the 
class  arrange  several  song  programmes  and  render  them.    For  sug- 
gestions see  §§  756-759. 

THIRTY-FIRST  WEEK 

749.  Give  the  "Third  Reader,"  Nos.  311-321.  Three-part 

song 

THIRTY-SECOND  WEEK 

750.  Give  the  "  Third  Reader,"  Nos.  322-332. 

THIRTY-THIRD  WEEK 

751.  Give  the  "  Third  Reader,"  Nos.  333-342. 

THIRTY-FOURTH  WEEK 

752.  Give  the  "  Third  Reader,"  Nos.  343-362.  Melodies  in 

753.  Give  a  review  of  the  definitions  of  "song,"  "folk  song,"  S^™ 
and  "  folk  tune."    Call  the  attention  of  the  class  to  the  fact  that  Scandinavian 
No.  346  originated  among  the  Scandinavian  people ;  that  No.  348  Hungarian,' 
originated  among  the  Norwegian  people;  that  No.  358  originated  folk  tunes 
among  the  Hungarian  people ;  and  that  No.  360  originated  among 

the  Scotch  people. 


142  MUSIC  IN  THE  PUBLIC  SCHOOLS 

THIRTY-FIFTH  WEEK 

754.  Give  a  general  review  of  the  "  Third  Reader,"  Part  IV. 

THIKTY-SIXTH  WEEK 

755.  Give  a  general  review  of  the  "  Third  Eeader  "  entire.    Let 
the  class  arrange  several  song  programmes  and  render  them.    For 
suggestions  see  the  following : 

756. 

1.  "  The  Willow  Nook  " S.  Hoffer 

Page  102 

2.  "  Bird  of  the  Azure  Wing  " C.B.Edmunds 

Page  6 

3.  "  When  the  Little  Children  Sleep  " Carl  Reinecke 

Page  12 

4.  "Music  Everywhere  " M.  White 

Page  14 

5.  "Night"  .  ' Franz  Abt 

Page  26 

6.  "  The  Flag  Goes  By  " C.  E.  Connew 

Page  17 

7.  "  Good  -Night  Song  of  the  River  " Mozart 

Pages 

757. 

1.  "  The  Blacksmith  " F.  Remsen 

Page  36 

2.  "  Memorial  Day  " M.  White 

Page  32 

3.  "  The  Moon  Boat  " M.  Lansen 

Page  34 

4.  "  Mother  Love  " .     Harvey  Worthington  Loomis 

Page  30 

5.  "Forward" L.  Edwards 

Page  36 

6.  "  In  the  Forest " Joseph  Rheinberger 

Page  47 

7.  "  The  Patriot  of  Bunker  Hill  " Verdi 

Page  39 

758. 

1.  "  In  the  Apple  Tree  " Italian  Folk  Tune 

Page  63 

2.  "  Flowing  Tide  " J.  F.  Halevy 

Page  74 

3.  "  The  Sea  Bird  " Emil  Karl  Janser 

Page  77 

4.  "  One  By  One  " Philip  H.  Goepp 

Page  81 

5.  "  Fairy  Sleep  " R.  Radecke 

Page  82 


SIXTH   YEAR  143 

6.  "  Dreamland  " Francois  Behr 

Page  84 

7.  "At  Eventide" Carl  Bo  hm 

Page  73 

759. 

1.  "Peace" Thomas  Koschat 

Page  96 

2.  "The  Pioneer" A.  Fesca 

Page  70 

3.  "  But  the  Lord  is  Mindful  " Mendelssohn 

Page  68 

4.  "  The  Fairies' Invitation  " Rossini 

Page  98 

5.  "  By  the  Firelight  " Verdi 

Page  103 

6.  "Boating" J.  Blumenthal 

Page  60 

7.  "  The  American  Flag  " German  Folk  Tune 

Page  66 

760.  Brief  suggested  lesson  programmes  for  any  week  of  the 
sixth  year,  as,  for  example,  the  sixth  week,  §§  687-690,  are  here 
given. 

MONDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Review  dictation  of  $4,  §  683. 

4.  Sight  singing,  No.  32. 

5.  Musical  interpretation,  No.  29. 

TUESDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Dictation  of  #4,  §  688. 

4.  Sight  singing,  Nos.  33-35. 

5.  Musical  interpretation,  No.  32. 

WEDNESDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Sight  singing,  No.  35. 

THURSDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Dictation  of  $5,  §  688. 

4.  Sight  singing,  Nos.  36-37. 


144  MUSIC  IN  THE  PUBLIC   SCHOOLS 

FRIDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Review  dictation  of  j(4  and  jf  5,  §  688. 

4.  Sight  singing,  No.  38. 

5.  Musical  interpretation,  No.  35. 


SEVENTH  YEAR 

SYNOPSIS 
Voice  Training 

Vocalization  of  all  material  in  this  year's  work. 

Sight  Singing 

Tune.  The  intermediate  sharps  and  flats  approached  and  followed  by 
skips,  765  and  following  sections. 

The  circle  of  keys  completed,  784  and  following  sections. 

The  minor  mode  in  contrast  with  the  major  mode,  802. 

Part  Song.   The  great  staff  and  the  F  clef,  831  and  following  sections. 

Musical  Forms 

Definitions  and  illustrations  of  "English  folk  tune,"  "Irish  folk  song," 
and  "Welsh  folk  song."  Definitions  of  "opera  comique,"  "romantic 
opera,"  "incidental  music,"  "sonata,"  and  "symphony,"  with  excerpts 
from  each. 

Musical  Interpretation 

From  a  study  of  the  spirit  of  the  music  and  the  signs  and  terms  of  musi- 
cal expression,  the  musical  interpretation  of  all  material  in  this  year's  work. 

Musical  Conceptions 

The  more  specific  melodic  and  harmonic  characteristics  of  noted  and 
great  composers  of  the  different  national  schools  of  music  are  introduced 
in  selections  from  famous  musical  art  works,  and  in  famous  instrumental 
themes,  songs,  and  part  songs  ;  the  more  specific  characteristics  of  folk 
songs  of  different  countries  ;  the  light-and-shade  impressions  of  music 
brought  about  by  the  effective  contrast  of  the  major  and  minor  modes. 

There  are  introduced  also  a  musical  representation  of  nine  nationalities, 
—  German,  French,  Italian,  English,  Russian,  Hungarian,  Swiss,  Scandi- 
navian, and  American,  —  including  sixty-three  composers,  the  more  impor- 
tant of  whom  are  Bach,  Beethoven,  Bizet,  Cecile  Chaminade,  G.  Donizetti, 
Julius  Eichberg,  W.  W.  Gilchrist,  Benjamin  Godard,  Gounod,  A.  E.  M. 
Gretry,  Henry  K.  Hadley,  Handel,  J.  L.  Hatton,  Haydn,  Harry  L.  Heartz, 
Liszt,  Harvey  Worthington  Loomis,  Mendelssohn,  Meyerbeer,  Mozart,  J. 
Offenbach,  Palestrina,  Giro  Pinsuti,  Rossini,  Schubert,  Schumann,  Henry 
Smart,  Ludwig  Spohr,  R.  Strauss,  A.  S.  Sullivan,  and  Weber ;  and  thirty- 
four  poets  in  song,  the  more  important  of  whom  are  Sarah  F.  Adams, 

145 


146  MUSIC  IN  THE  PUBLIC  SCHOOLS 

William  Allingham,  Abbie  Farwell  Brown,  Bryant,  W.  E.  Doane,  Eliza- 
beth Lincoln  Gould,  Heine,  Holmes,  Longfellow,  Thomas  Moore,  Tenny- 
son, Thackeray,  and  Whittier. 

In  the  New  Educational  Music  Readers  good  melody  is  always  present. 
In  the  part  songs  it  appears  in  the  middle  parts  and  bass  as  well  as  in  the 
soprano. 

Harmony  by  nature  is  inseparable  from  melody,  and  the  natural  group- 
ing of  voices  in  the  upper  grades  is  conducive  to  good  harmonic  singing. 
As  harmony  increases  in  amount,  however,  melody  does  not  give  way  to  it 
or  decrease,  for  to  a  great  extent  the  part  songs  are  an  interweaving  of 
melodies.  Thus  any  part  that  is  suitable  in  range  for  the  pupil  to  sing,  is 
inherently  attractive,  fixes  in  his  mind  the  essentials  of  good  music,  and 
develops  in  him  the  power  of  musical  discrimination. 

Elementary  Harmony 

Interval,  half  step,  step,  scale  building,  and  resulting  signatures,  788 
and  following  sections. 

Suggested  song  programmes,  840-843. 

Material 

For  pupils'  use,  the  "Fourth  Reader"  entire  for  voice  training,  sight 
singing,  musical  interpretation,  and  musical  conceptions. 
For  teachers'  use,"  Music  in  the  Public  Schools." 


SEVENTH  TEAR 

PLAN  FOR  THIRTY-SIX  WEEKS'  WORK 

GENERAL  SUGGESTIONS 

761.  It  must  be  remembered  that  good  voice  production  is 
necessary  to  good  musical  interpretation ;  therefore  the  teacher  is 
urged  to  follow  the  "  General  Suggestions  "  on  voice  training  given 
in  §§  493-494. 

762.  Through  this  and  the  next  grade  it  is  well  to  be  on  the 
watch  for  individual  cases  of  the  boy's  changing  voice,  and,  when 
discovered,  to  exercise  care  in  their  treatment.    Specially  prepared 
arrangements  of  music  will  be  found  in  the  "  Fourth  Reader " 
and  "  Fifth  Reader,"  to  suit  these  adolescent  or  bass  voices. 

763.  By  this  time  the  pupil  has  become  accustomed  to  study 
intelligently  the  spirit  of  the  music  which  he  reads.    This  will 
help  him  greatly  in  interpreting.    So  far  as  terms  and  signs  of 
expression  are  concerned  let  him  follow  them  as  he  sings  at  sight. 
Give  him  to  understand  that,  at  his  first  trial  of  a  piece  of  music, 
he  should  render  it  as  expressively  as  possible. 

FIRST  WEEK 

764.  The  first  twenty-seven  pages  of  the  "  Fourth  Reader " 
contain   a   review  of   the  principles  presented  in  the  preceding 
readers. 

765.  Give  the  pitch  of  f  and  dictate  from  the  staff  the  follow-  Dictation  of 
ing  phrases,  which  introduce  in  melodic  progression  intermediate  and  preceded 
t>  7  preceded  and  followed  stepwise  and  intermediate  t>  6  preceded 

and  followed  skipwise.    For  explanation  of  staff  dictation  and  staff 
presentation  for  intermediate  sharps  and  flats  see  §§  877,  879. 

147 


148  MUSIC  IN  THE  PUBLIC   SCHOOLS 

545  then  to  the  same  tones  8  b  7  8  then  8878b7858 
8  5  b6  8  5  58.  8  5  b6  8  b6  5  8  5  8  b6  8  5  7  8 

88  b7868  b6  85724311 

766.  Give  the  "  Fourth  Reader,"  Nos.  1-6. 

SECOND  WEEK 

Dictation  of  767.  Give  any  suitable  pitch  and  dictate  from  the  staff  the 
ceded  and  following  phrases,  which  introduce  in  melodic  progression  inter- 
skipwise  mediate  $4  and  $5  preceded  and  followed  skipwise. 

56  #4  6531  5?  #4  7658  58  ((48551 

52  |(4  2758         135  then  to  the  same  tones  3  $5  72876 

768.  Give  the  "  Fourth  Reader,"  Nos.  7-10. 

THIRD  WEEK 

769.  Give  any  suitable  pitch  and  dictate  from  the  staff  the 
following  phrases,  which  introduce  in  melodic  progression  inter- 
mediate jji4  and  $5  preceded  and  followed  skipwise. 

53  #4  3258  52  #4  2531  5l  #41583 

5  7  #4  75  #43  6  7  #5   7  876 

770.  Give  the  "Fourth  Reader,"  Nos.  11-12. 

FOURTH  WEEK 

771.  Dictate  from  the  staff  the  following  phrases,  which  intro- 
duce in  melodic  progression  intermediate  #  5  preceded  and  followed 
skipwise. 

6  8  #5  8  7  3  6  62#52~876  6  3  #5  3  8  7  6 
6  3  j| 5  36  #56                 6  1  #5   1  6  #5  6 

772.  Give  the  "  Fourth  Reader,"  Nos.  13-15. 

English  773.  Give  a  review  of  the  definitions  of  "  song,"  "  folk  song," 

and  "  folk  tune."    Call  the  attention  of  the  class  to  the  fact  that 
thu  tune  of  No.  13  originated  among  the  English  people. 


SEVENTH  YEAR  149 

FIFTH  WEEK 

774.  Dictate  from  the  staff  the  following  phrases,  which  intro-  Dictation  of 

•  T         u -i  i   »  11  i  f  i  preceded 

duce  in  melodic  progression  intermediate  %  1  preceded  and  followed  and  followed 
skipwise. 

1  3  fll  3  23  1  2  4  #1  4231  2  5  ||1   5  231 

2  6  jj  1   6  5  3  1  2  7  #  1   7  2  5  1 

775.  Give  the  "  Fourth  Reader,"  Nos.  16-19. 

776.  Give  a  review  of  the  definitions  of  "  opera,"  "  grand  opera," 
and  "comic  opera." 

SIXTH  WEEK 

777.  Dictate  from  the  staff  the  following  phrases,  which  intro-  Dictation  of 
duce  in  melodic  progression  intermediate  $  2  preceded  and  followed  and  followed 
skipwise. 

16  $16  25.1  l_5fllj>231  35^25351 

36  $2   6531  37  $2   75  $4  3 

778.  Give  the  "  Fourth  Reader,"  Nos.  20-24. 

SEVENTH  WEEK 

779.  Dictate  from  the  staff  the  following  phrases,  which  intro-  Dictation  of 
duce  in  melodic  progression  intermediate  b  7  preceded  and  followed  and  followed 

.  .        .  skipwise 

skipwise. 

3 1 #2 1351  3Z#2Z3#23  65  b7  5658 

63  \>1  36  $5  6  6  1  b7   1  658 

780.  Give  the  "  Fourth  Reader,"  Nos.  25-27. 

EIGHTH  WEEK 

781.  Dictate  from  the  staff  the  following  phrases,  which  intro-  Dictation  of 
duce  in  melodic  progression  intermediate  b  3  preceded  and  followed  ana  followed 

.  .       .  skipwise 

skipwise. 

62b72658  63b736#56  3  1  b3  1  2  7  1 

35b3£>251  35  b3  5251 

782.  Give  the  "  Fourth  Reader,"  Nos.  28-32. 


150  MUSIC  IN  THE  PUBLIC  SCHOOLS 

NINTH  WEEK 
Dictation  of         783.  Dictate  from  the  staff  the  following  phrases,  which  intro- 

beandbapre-     ,  .  ... 

ceded  and  foi-  duce  in  melodic  progression  intermediate  v  6  and  i?  2  preceded  and 

lowed  .        . 

skipwise        followed  skipwise. 

541764543  521762531  511761543 

581768578  541764358  1  4  1?2  4  1  1  1 

circle  of  keys       784.  Give  the  "Fourth  Header,"  Nos.  33-37. 

completed 

TENTH  WEEK 

785.  Give  the  "  Fourth  Reader,"  Nos.  38-43. 
"Opera  786.  Give  a  review  of  the  definitions  of  "  opera,"  "  grand  opera," 

comique "  ( 

and  "roman-  and     comic  opera.      Ask  the  class  to  learn  the  meanings  of  "  opera 

tic  opera "  .          n         A 

defined  comique     and  "romantic  opera."    Refer  them  to  the  glossary  of 

the  "  Fourth  Eeader  "  for  the  definitions. 

ELEVENTH  WEEK 

787.  Give  a  review  of  the  "  Fourth  Eeader,"  Parts  I  and  II. 
Let  the  class  arrange  several  song  programmes  and  render  them. 
For  suggestions  see  §§  840—843. 

788.  Teach  scale  building  and  the  development  of  signatures  as 
follows : 

interval  789.  Illustrate  an  interval  by  asking  the  class  to  sing  any  two 

tones  of  the  scale,  as  1—3.  Inform  them  that  they  have  sung  an 
interval  and  give  the  definition  as  the  difference  in  pitch  between 
two  tones. 

Place  on  the  blackboard  the  following : 


S^TT^T-*-^ 


Ask  the  class  to  notice  that  the  whole  notes  represent  the  scale 

and  that  the  intervals  of  3-4  and  7-8  are  the  only  intervals  of  the 

scale  so  small  that  an  intermediate  tone  is  impossible.    Inform 

Half  step        them  that  these  two  intervals  are  called  half  steps  and  define  them 

as  the  smallest  intervals  in  music. 

Show  the  class  that  the  interval  from  1  to  $  1  is  similar  to  the 
interval  3-4  and  is  therefore  a  half  step ;  also,  that  the  interval 


SEVENTH  YEAK 


151 


fll-2  is  similar  to  the  interval  3-4  and  is  therefore  a  half  step; 
hence  that  the  interval  1-2  is  two  half  steps,  or  a  step.    In  like  step 
manner  show  them  that  the  intervals  2-3,  4—5,  5-6,  and  6-7  are 
each  steps. 

790.  Let  the  class  now  give  the  intervals  of  the  ascending  scale 
in  order,  thus : 

From  1  to  2  a  step,  from  2  to  3  a  step,  from  3  to  4  a  half  step,  The  axed 
from  4  to  5  a  step,  from  5  to  6  a  step,  from  6  to  7  a  step,  from  7  majo°r  scale 

,     ,.  ascending 

to  8  a  half  step. 

Name  this  "the  fixed  rule  of  the  major  scale  ascending,"  and 
let  the  class  repeat  it  until  it  is  thoroughly  mastered. 

791.  Call  the  attention  of  the  class  to  the  fact  that  from  1  to  $  1  Function 
is  a  half  step,  and  that  therefore  a  sharp  represents  a  pitch  a  half 

step  higher  than  the  staff  degree  on  which  it  occurs. 

792.  In  like  manner  show  the  class  that  a  flat  represents  a  pitch  Function 
a  half  step  lower  than  the  staff  degree  on  which  it  occurs. 

793.  Inform  the  class  that  an  open  staff,  that  is,  a  staff  with  no 
signature,  represents  the  major  scale  of  C. 

Place  it  on  the  blackboard,  extended,  thus : 


¥                                                                                                                                               £2          t^***          (~-*' 

-&-  — 

. 

£2 

cz      s; 

L~£K  —  -^r  —  z=>  »- 

1 

2          3 

4 

5 

1           2          3 

4 

5 

6          7 

8 

c        3        e 

f 

g 

a        £ 

C 

a     e 

1 

g 

On  another  staff  below  this  let  the  class  begin  with  1  on  g,  and  Building  the 
by  applying  the  fixed  rule  of  the  major  scale  ascending,  §  790, 
build  the  scale  of  G.    Let  the  g  of  the  lower  staff  come  directly 
under  the  g  of  the  upper  staff,  thus : 


f3 ^^ 


ly                                                                                                                                 -^^~<         ^^         ^"^ 

*\                                                                                                                                                                                        ^~J                 ^r-^                 ^^^ 

\    /Al\                                                                                              <*~~3            f*^            ^"^ 

i  Vsly                                     .^^i         *^I?         ^"^ 

i 

C 

1           2 
2345678 

d        efgaBcd 

345 
e        f        g 

yK  

L 

Sf\\                            ^^-1 

v-LJ                          c^ 

1 

1 

g 

152 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


so  that  a  comparison  of  the  scale  being  built  with  the  open  staff 
may  be  made  readily  at  every  interval. 

As  they  proceed  the  class  will  discover  that  the  intervals  of  the 
new  scale  will  be  similar  to  those  of  the  open  staff  until  the  seventh 
tone,  I,  of  the  new  scale  is  reached,  thus  : 


Developing 
the  signature 
one  sharp 


vD                          ;  —       ej      ^ 

1 
c 

2345 
d        e         f        g 

6 
a 

1 

7          8 

b          I 

2 
d 

345 
e        f        g 

1    jf 

^p 

\  /fo.  —              — 

—  ^  — 

1     V^L'                                          ^^ 

1 
g 

2 
a 

3          4 
b"         c 

5 
d 

6 
e 

Here  they  will  find  that  f  of  the  open  staff  is  a  half  step  too  low 
for  the  interval  of  the  new  scale  6-7,  which  should  be  a  step,  and 
also  for  the  interval  7—8,  which  should  be  a  half  step.  To  make 
both  of  these  intervals  correct,  inform  the  class  that  it  will  be 
necessary  to  substitute  for  I  a  pitch  one  half  step  higher,  which  is 
f  Jf.  This  will  add  a  half  step  to  e-f,  thus  making  it  the  required 
interval  of  a  step,  6—7,  and  at  the  same  time  take  a  half  step  from 
f-g,  thus  making  it  the  required  interval  of  a  half  step,  7-8. 

Supply  the  notes  and  sharp,  thus : 


£2_ 


-7 

/*n?        '-^        ^^^ 

X 

X^"J               i^ 

|^5l                                            1  1 

CD 

f^      c?      ^^ 

.    -     --       II 

^^  —  "o~ 

i 

23456 

1 

7           8 

2345 

u-J^: 

f-y 

cy 

¥== 

(ff)                 <^? 

—  ^y  — 

—  <s>  — 

i 

2 

3 

4 

5 

6 

7          8 

g 

a 

B 

C 

d 

e 

fj       g 

Inform  the  class  that  the  sharp,  instead  of  always  being  written 
before  every  note  on  F,  is  placed  at  the  beginning  of  the  staff  on  I 
as  a  sign  or  signature  of  the  scale  or  key  of  G. 


SEVENTH   YEAR 


153 


Erase  the  sharp  before  the  note  and  write  it  as  the  signature, 
thus :  /i|_  ^     o     fa     rl 


794.  In  a  manner  similar  to  §  793,  let  the  class  begin  with  1  Building 
on  f,  and  by  applying  the  fixed  rule  of  the  major  scale  ascending, 
§  790,  build  the  scale  of  F. 

When  built  below  the  open  staff  it  will  appear  thus : 


~75T 

—  —  —  — 

g^ 

—&— 

& 

c-*^  » 

icH                         ^ 

^y 

& 

L1^r    ^    <v  —  ^— 

1 

2 

3 

4 

5 

1234 

5 

6 

7 

8 

c        3        e        I 

g 

a 

B 

c 

3 

e 

1 

g 

—<S>— 

y/  

—  ^y  — 

—  &'  — 

— 

»T\ 

^2 

e*s 

1 

2 

3 

4 

5 

6 

7 

8 

I 

g 

a 

Bb 

c 

a 

e 

f 

From  this  they  will  have  discovered  that  6  of  the  open  staff  Developing 
must  be  flat  in  order  to  make,  in  the  new  scale,  the  interval  3-4  a  one  flat1* 
half  step  and  the  interval  4—5  a  step. 

Erase  the  flat  before  the  note  and  write  it  as  the  signature,  thus : 


L^U                  ,^_^_^^   ^     r^ 

f 

2 

g 

3 

a 

4 

bb 

5 
C 

6 

d 

7 
e 

8 
f 

TWELFTH  WEEK 

795.  Teach  the  minor  mode  as  follows: 

Give  the  pitch  of  c  and  ask  the  class  to  sing  the  scale  ascending 
and  descending. 

Inform  them  that  they  have  sung  the  scale  of  C  major.  Major  key 

Place  it  on  the  blackboard,  thus : 


22: 


154 


MUSIC   IN   THE  PUBLIC   SCHOOLS 


With  the  same  pitch  dictate  orally  67123456,  65432 
176. 

Minor  key  Inform  them  that  they  have  sung  a  scale  of  A  minor. 

Place  it  on  the  blackboard,  thus : 


Relative 
minor 


Natural  form 
of  the  minor 


Major  mode 
Minor  mode 


Melodic  form 
of  the  minor 


Harmonic 
form  of  the 
minor 


Ask  the  class  to  notice  that  the  minor  scale  begins  on  6  and 
takes  its  name,  A  minor,  from  the  pitch  on  which  it  begins,  A ;  also 
that  the  scale  of  A  minor  is  like  the  scale  of  C  major  in  signature. 

796.  Inform  the  class  that  the  key  of  A  minor  is  the  relative 
minor  of  C  major,  and  that  every  major  key  has  a  relative  minor 
key,  beginning  on  6  of  the  major  scale,  and  that  the  minor  key 
takes  its  name  from  the  pitch  name  on  which  it  begins.   State  as  an 
illustration  that  one  sharp  is  the  signature  of  G  major  and  E  minor ; 
also  that  one  flat  is  the  signature  of  F  major  and  D  minor,  etc. 

797.  Inform  the  class  that  there  are  three  forms  of  the  minor 
scale,  and  that  the  one  sung  above  is  called  the  natural  form,  which 
is  but  little  used. 

798.  State  to  the  class  that  music  in  any  major  key  is  said  to 
be  in  the  major  mode,  and  that  music  in  any  minor  key  is  said  to 
be  in  the  minor  mode. 

799.  Teach  the  melodic  form  of  the  minor  scale  as  follows : 
Ask  the  class  to  sing  any  melody  in  the  minor  mode,  as  the 

lower  staff  of  No.  44  of  the  "Fourth  Reader."  Then  ask  them  to 
sing  the  first  minor  scale  on  page  153.  Direct  their  attention  to 
the  fact  that  in  melodic  progression  the  minor  scale  just  sung  is 
similar  to  the  melody  in  No.  44 ;  therefore  name  it  "  the  melodic 
form  of  the  minor  scale."  Ask  them  to  notice  also  that  in  this 
scale  f  and  g,  the  6th  and  7th  degrees  of  the  minor  scale,  are  each 
sharp  ascending  and  natural  descending. 

800.  Illustrate  the  harmonic  form  of  the  minor  scale  as  given 
in  the  "  Fourth  Eeader,"  page  152. 

801.  Give  the  "Fourth  Reader,"  Nos.  44-51. 

802.  Let  the  class  sing  No.  45  of  the  "  Fourth  Reader,"  and 
notice  that  in  the  first  two  measures  there  is  a  short  theme  or  tune  in 


SEVENTH  YEAR 


155 


the  major  mode,  while  contrasted  with  it  in  the  second  and  third  Minor  mode 
measures  there  is  a  similar  theme  or  tune  in  the  minor  mode,  with  the 

major  mode 

Again,  let  the  class  sing  No.  47  of  the  "Fourth  Reader,"  and  notice 
that  there  is  a  theme  or  tune  in  the  major  mode  similar  to  the  open- 
ing theme  or  tune  of  No.  48,  which  is  in  the  minor  mode,  and  so  on, 

THIRTEENTH  WEEK 

803.  Give  the  "  Fourth  Reader,"  Nos.  52-56. 

FOURTEENTH  WEEK 

804.  Let  the  class  proceed  as  in  §§  793,  794,  and  build  the  scale  building 

0  °  of  D  major 

scales  and  develop  the  signatures  of  D  major  and  Bi7  major.    In  and  BO  major 
comparison  with  the  open  staff,  these  scales  when  completed  will 
appear  thus : 


3E                                         =  —  =  —  ^- 

vl)                                               ^ 

«J       ^s>-      «-*       ^ 

1             2             3 

c       a       e 

4567 
f          g         a          B 

1             2            3 

8 

c       a      e 

jf                                                                                           W             c? 

^n~\ 

_  —  .     —  .„  ^  ^^  

TL^^            Cjx 

1            2 

a      e 

3456 

j^f         g         a          5 

7            8 

c$     a 

r/ 

2E 

•/T\ 

^w'L' 

i 

7          8 

B       c 

23456 
3        e        f        g        a 

7          8 
B        c 

JIJ*"                                                                                                                             b>^O                            1 

_£/T\                                                                                              ^-i          ^-^       vC^ 

V"l^                                                                                              W.^—  ,                 ^^^                 ^"^ 

1           2 

bfr      c 

34567 
d        et?       f        g         a 

8 
bb 

805.  Give  the  "  Fourth  Reader,"  Nos.  57-62. 

FIFTEENTH  WEEK 

806.  Let  the  class  proceed  as  in  S  793  and  build  the  scale  and  scale  building 

,        ..  .  of  A  major 

develop  the  signature  of  A  major.    See  §  897. 


156  MUSIC  IN  THE  PUBLIC   SCHOOLS 

807.  Give  the  "  Fourth  Reader,"  Nos.  63-68. 

"incidental  808.  Ask  the  class  to  learn  the  meaning  of  "  incidental  music." 
defined  Eefer  them  to  the  glossary  of  the  "  Fourth  Reader "  for  the 

definition. 

SIXTEENTH  WEEK 

scale  building      809.  Let  the  class  proceed  as  in  §§  793,  794,  and  build  the  scales 
and  E  major     and  develop  the  signatures  of  Eb  major  and  E  major.    See  §§  904, 
898. 

810.  Explain  to  the  class  that  a  double  sharp,  x,  represents  a 
pitch  a  half  step  higher  than  the  sharp  staff  degree  on  which  it 
occurs;  also,  that  a  double  flat,  PP,  represents  a  pitch  a  half  step 
lower  than  the  flat  staff  degree  on  which  it  occurs. 

811.  Give  the  "  Fourth  Reader,"  Nos.  69-75. 

SEVENTEENTH  WEEK 
scale  building      812.  Let  the  class  proceed  as  in  SS  793,  794,  and  build  the 

of  Afr  major, 

B  major,  and   scales  and  develop  the  signatures  of  AP  major,  B  major,  and  DP 
major.    See  §§  905,  899,  906. 

813.  Give  the  "  Fourth  Reader,"  Nos.  76-80. 

EIGHTEENTH  WEEK 

scaiebuiiding  814.  Let  the  class  proceed  as  in  §§  793,  794,  and  build  the 
ob  major,r>  scales  and  develop  the  signatures  of  F  major,  GP  major,  C$  major, 
c?Sajorr>and  and  CP  major.  See  §§  902,  907,  901,  908. 

815.  Give  the  "Fourth  Reader,"  Nos.  81-89. 

"Sonata"          816.  Ask  the  class  to  learn  the  meanings  of  "sonata"  and 
phony ^m       "symphony."  Refer  them  to  the  glossary  of  the  "Fourth  Reader" 
for  the  definitions. 

NINETEENTH  WEEK 

817.  Give  a  review  of  the  "  Fourth  Reader,"  Part  III. 

818.  Let  the  class  arrange  several  song  programmes  and  render 
them.    For  suggestions  see  §§  840-843. 

TWENTIETH  WEEK 

819.  Give  the  "  Fourth  Reader,"  Nos.  90-91. 


SEVENTH  YEAR  157 

TWENTY-FIRST  WEEK 

820.  Give  the  "Fourth  Reader,"  Nos.  92-95. 

TWENTY-SECOND  WEEK 

821.  Give  the  "  Fourth  Reader,"  Nos.  96-98. 

TWENTY-THIRD  WEEK 

822.  Give  the  "Fourth  Reader,"  Nos.  99-101. 

TWENTY-FOURTH  WEEK 

823.  Give  the  "  Fourth  Reader,"  Nos.  102-103. 

TWENTY-FIFTH  WEEK 

824.  Give  the  "  Fourth  Reader,"  Nos.  104-105. 

TWENTY-SIXTH  WEEK 

825.  Give  the  "  Fourth  Reader,"  Nos.  106-109. 

TWENTY-SEVENTH  WEEK 

826.  Give  the  "Fourth  Reader,"  Nos.  110-111. 

TWENTY-EIGHTH  WEEK 

827.  Give  the  "Fourth  Reader,"  Nos.  112-113. 
Give  a  review  of  the  definition  of  "  oratorio." 

TWENTY-NINTH  WEEK 

828.  Give  the  "Fourth  Reader,"  Nos.  114-116. 

THIRTIETH  WEEK 

829.  Give  the  "Fourth  Reader,"  Nos.  117-121. 

THIRTY-FIRST  WEEK 

830.  Give  a  review  of  the  "  Fourth  Reader,"  Part  IV.    Let  the 
class  arrange  several  musical  programmes  and  render  them.    For 
suggestions  see  §§  840-843. 


158  MUSIC  IN  THE  PUBLIC   SCHOOLS 

THIRTY-SECOND  WEEK 

831.  Illustrate  the  great  staff  and  F  clef  as  follows : 
Give  the  pitch  of  8  and  ask  those  of  the  class  who  sing  soprano 
to  sing  the  scale  descending ;  then  write  it  on  the  blackboard,  thus  : 

cbagle       9c 


Now  ask  the  class  to  sing  the  scale  descending  from  the  pitch  of 
c.  Write  it  on  the  blackboard  under  the  scale  already  written,  thus : 


Great  staff 


Pclef 


Irish  folk 
song 


cbagfedc 

832.  Explain  to  the  class  that  these  two  staves  combined  are 
called  the  great  staff.    In  the  upper  staff  the  clef  is  called  the 
G  clef  because  it  encircles  the  line  representing  the  pitch  of  G.    In 
the  lower  staff  the  clef  encircles  the  line  representing  the  pitch 
of  F.    This  is  further  emphasized  by  two  dots,  one  on  each  side  of 
the  F  line.    Therefore  name  it  "the  F  clef." 

Let  the  class  study  the  great  staff  and  learn  the  keynote  and 
position  of  1  in  different  keys  from  the  F  clef,  in  the  "  Fourth 
Eeader,"  page  128  and  following. 

833.  Give  the  "Fourth  Eeader,"  Nos.  122-143. 

834.  Give  a  review  of  the  definitions  of  "  song,"  "  folk  song," 
and  "  folk  tune."    Call  the  attention  of  the  class  to  the  fact  that 
No.  139  originated  among  the  Irish  people. 

THIRTY-THIRD  WEEK 

835.  Give  the  "Fourth  Reader,"  Nos.  144-147. 

Give  a  review  of  the  definitions  of  "  opera,"  "  grand  opera," 
"  comic  opera,"  "  opera  comique,"  "  romantic  opera,"  and  "  inci- 
dental music." 


SEVENTH  YEAR  159 

THIRTY-FOURTH  WEEK 

836.  Give  the  "  Fourth  Reader,"  Nos.  148-151. 

837.  Give  a  review  of  the  definitions  of  "  oratorio,"  "  cantata," 
"  sonata,"  and  "  symphony."    Call  the  attention  of  the  class  to  the 
fact  that  No.  150  originated  among  the  Welsh  people. 

THIRTY-FIFTH  WEEK 

838.  Give  a  review  of  the  "  Fourth  Reader,"  Part  V. 

THIRTY-SIXTH  WEEK 

839.  Give  a  review  of  the  "  Fourth  Reader  "  entire. 

Let  the  class  arrange  several  musical  programmes  and  render 
them.  For  suggestions  see  the  following  selections  from  the 
"  Fourth  Reader  "  : 

840. 

1.  "Autumn  Woods" A.  S.  Sullivan 

Page  2 

2.  "Where  Would  I  Be?" Karl  Zollner 

Page3 

3.  "  Wind  in  the  Trees  " M.  Lansen 

Page  11 

4.  "  The  Light-Hearted  Fairy  " C.B.Edmunds 

Page  13 

5.  "  The  Victory  at  Saratoga  " Meyerbeer 

Page  15 

6.  "  Evening  Song  " Mozart 

Page  16 

7.  "  The  Summer  Night  "     . J.  F.  Nesmuller 

Page  19 

8.  "  A  Life  Lesson  " Schumann 

Page  18 

841. 

1.  "  The  March  of  the  Masqueraders  " A.S.Sullivan 

Page  30 

2.  "  Sunset  " • Schubert 

Page  21 

3.  "  To  the  Whip-poor-will  " Eleme'r  Szentirmay 

Page  22 

4.  "  My  Rose  "        Luigi  Caracciolo 

Page  22 

5.  "  Stars  of  the  Summer  Night  " I.  B.  Woodbury 

Page  9 

6.  "The  Weather  Vane  " Oskar  Strauss 

Page  7 

7.  "  The  Four  Seasons  " Haydn 

Page  32 


160  MUSIC  IN  THE  PUBLIC  SCHOOLS 

842. 

1.  "  Hymn  to  Our  Country  " German  Folk  Tune 

Page  35 

2.  "  Silent  Night  " Fr.  Gruber 

Page  14 

3.  "  A  Foot-ball  Song  " English  Folk  Tune 

Page  10 

4.  "  Russian  Lullaby  " N.  Bachmetieff 

Page  37 

5.  "  The  Spanish  Gypsy  " A,  Saleza 

Page  40 

6.  "  The  Whistler  " G.  Schleiffarth 

Page  43 

7.  "  The  Brook  " H.  Clough-Leighter 

Page  106 

843. 

1.  "  Robert  of  Lincoln  " Henry  K.  Hadley 

Page  68 

2.  "  My  Mother  " Thomas  Koschat 

Page  70 

3.  "  I  Waited  for  the  Lord  " Mendelssohn 

Page  78 

4.  "  A  Lesson  in  Giving  " Cecile  Chaminade 

Page  87 

5.  "Spring  " Gounod 

Page  99 

6.  "  Slumber  Song  of  the  River  " Benjamin  Godard 

Page  103 

7.  "  My  Heart  Ever  Faithful  " Bach 

Page  107 

844.  Brief  suggested  lesson  programmes  for  any  week  of  the 
seventh  year,  as,  for  example,  the  sixth  week,  §§  777,  778,  are 
here  given. 

MONDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Review  of  the  fifth  week's  dictation  of  intermediate  tones. 

4.  Review  dictation  of  Type  Two,  Type  Three,  Type  Four  modified, 

and  Figure  One. 

5.  Sight  singing,  No.  20,  to  the  sign  "Firii." 

6.  Musical  interpretation,  No.  19. 

TUESDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Dictation  of  til. 

4.  Sight  singing,  Nos.  20,  21. 

5.  Musical  interpretation,  No.  20. 


SEVENTH  YEAR  161 

WEDNESDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Dictation  of  jf  1  and  #2 

4.  Sight  singing,  No.  22. 

5.  Musical  interpretation,  No.  20. 

THURSDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Dictation  of  #2. 

4.  Sight  singing,  page  19  only. 

5.  Musical  interpretation,  No.  22. 

FRIDAY 

1.  Breathing  Exercise  III. 

2.  Vocalization. 

3.  Review  dictation  of  §1  and  J|2. 

4.  Sight  singing,  page  20. 

5.  Musical  interpretation,  Nos.  19,  20,  22. 


EIGHTH  YEAR 

SYNOPSIS 
Voice  Training 

Vocalization  of  such  material  in  this  year's  work  as  is  necessary  to 
improve  the  tone  quality. 

Sight  Singing 

Four-part  songs. 

Musical  Forms 

Many  additional  vocal  and  instrumental  forms.  See  also  pages  224-231 
of  the  "Fifth  Reader." 

Musical  Biographies 

The  biographies  of  twenty-eight  great  composers :  Palestrina,  Pur- 
cell,  Bach,  Handel,  Gluck,  Haydn,  Mozart,  Beethoven,  Weber,  Rossini, 
Schubert,  Berlioz,  Mendelssohn,  Chopin,  Schumann,  Liszt,  Wagner,  Verdi, 
Franz,  Gounod,  Rubinstein,  Brahms,  Saint-Saens,  Bizet,  Tchaikovsky, 
Grieg,  Puccini,  and  Richard  Strauss. 

Musical  Interpretation 

From  a  study  of  the  spirit  of  the  music,  combined  with  the  study  of  the 
signs  and  terms  of  musical  expression,  the  musical  interpretation  of  all 
material  in  this  year's  work. 

Musical  Conceptions 

The  more  specific  harmonic  and  melodic  characteristics  of  noted  and 
great  composers  of  the  different  national  schools  of  music  are  introduced 
in  more  elaborate  selections  from  famous  musical  art  works,  and  in  more 
elaborate  famous  instrumental  themes,  songs,  and  part  songs. 

Four-part  harmony  is  introduced.  There  is  introduced  also  a  musical 
representation  of  twelve  nationalities,  —  German,  French,  Italian,  English, 
Swiss,  Polish,  Irish,  Russian,  Scandinavian,  Scotch,  Danish,  and  Amer- 
ican, including  fifty-two  composers,  the  more  important  of  whom  are  Franz 
Abt,  Adolphe  C.  Adam,  Bach,  Joseph  Barnby,  Beethoven,  Bizet,  Chopin, 
Stephen  C.  Foster,  W.  W.  Gilchrist,  Karl  Goldmark,  L.  Gottschalk, 
Gounod,  Grieg,  Henry  K.  Hadley,  Handel,  Haydn,  Ed.  Jakobowski, 
Paul  Lacome,  E.  Lassen,  Harvey  Worthington  Loomis,  Mendelssohn, 
A.  Messager,  J.  L.  Molloy,  Mozart,  J.  R.  Planquette,  Rossini,  Rubinstein, 

162 


EIGHTH   YEAR  163 

Schubert,  Schumann,  Henry  Smart,  John  Stainer,  A.  S.  Sullivan,  Am- 
broise  Thomas,  Verdi,  Wagner,  W.  V.  Wallace,  and  Weber;  and  thirty- 
two  poets  in  song,  the  more  important  of  whom  are  Alfred  Bell,  H.  Bonar, 
Abbie  Farwell  Brown,  G.  W.  Doane,  Nathan  Haskell  Dole,  William 
Duthie,  Louis  C.  Elson,  Elizabeth  Lincoln  Gould,  Robert  Grant,  Reginald 
Heber,  James  Hogg,  Horace,  Longfellow,  Mrs.  Emily  Huntington  Miller, 
Thomas  Moore,  Clinton  Scollard,  Shakespeare,  Nixon  Waterman,  F.  E. 
Weatherley,  Charles  Wesley,  and  Whittier. 

Those  teachers  who  use  in  their  classes  the  "  Fifth  Reader  "  of  the  New 
Educational  Music  Course  will  have  no  occasion  to  look  for  music  else- 
where for  commencement  exercises,  for  in  all  music  they  will  be  able  to  find 
nothing  better  than  the  material  for  study  and  interpretation  given  in  this 
book.  This  is  true  also  of  the  preceding  readers  in  this  series.  In  making 
song  selections  for  the  New  Educational  Music  Course  the  guiding  principle 
of  the  editors  and  their  assistant  coterie  of  composers,  poets,  musicians, 
critics,  and  teachers  was,  "  What  is  not  good  enough  for  a  concert  or  com- 
mencement programme  is  not  good  enough  for  everyday  study." 

Suggested  song  programmes,  857-870. 

Material 

For  pupils'  use,  the  "  Fifth  Reader  "  for  voice  training,  sight  singing, 
musical  interpretation,  and  musical  conceptions. 

For  teachers'  use,  "  Music  in  the  Public  Schools." 


EIGHTH  YEAK 

GENERAL  SUGGESTIONS 

The  music  of  the  "  Fifth  Eeader  "  is  arranged  as  follows : 

845.  Part  I  is  made  up  of  part  songs  and  choruses  for  unchanged 
voices,  similar  in  range   to   those   of   Part  IV  in  the  "  Fourth 
Reader." 

846.  Part  II  is  made  up  of  part  songs  and  choruses  of  slightly 
lowered  range.    They  may  be  sung  by  unchanged  voices  or  by  a 
mixture  of  unchanged  and  adolescent  voices. 

847.  Part   III  presents  music  arranged  for  three  unchanged 
voices,  or  for  two  unchanged  voices  and  the  bass  voice.    The  com- 
positions are  harmonically  complete  with  the  three  upper  voices, 
or  with  the  two  upper  voices  and  the  bass  voice. 

848.  Part  IV  presents  music  arranged   for  three    unchanged 
voices  and  bass  ad  libitum  ;  that  is,  with  the  bass  it  is  complete 
four-part  music ;  without  the  bass  it  is  complete  three-part  music. 

849.  Before  beginning  the  use  of  this  book  the  teacher  should 
make  a  careful  examination  of  the  voices  of  her  class  in  order  that 
she  may  determine  the  right  place  in  the  book  to  begin. 

850.  If  she  has  girls'  voices  entire,  or  girls  and  boys  with  un- 
changed voices,  or  boys,  a  few  of  whom  have   just  begun  the 
adolescent  period,  she  would  better  begin  with  Part  I. 

851.  If  she  has  in  her  class  several  boys  whose  voices  are  well 
along  in  the  adolescent  period,  but  have  not  yet  "  broken,"  she 
would  better  begin  with  Part  II. 

852.  If  she  has  a  sufficient  number  of  boys'  changed  voices  to 
carry  a  bass,  even  though  it  be  somewhat  weak,  she  would  better 
begin  with  Part  III.    This  begins  with  easy  music  in  the  F  clef  and 
continues  with  a  bass  part  easier  than  any  of  the  other  parts. 

853.  The  unchanged  and  adolescent  voices  of  boys  in  the  eighth 
and  ninth  grades  are  liable  to  change  radically  at  any  time,  and 

164 


EIGHTH  YEAR  165 

therefore  need  constant  watching.  Classes  which  may  with  good 
reason  begin  the  study  of  Part  I  may  have  to  change,  in  the  course 
of  two  or  three  weeks,  to  Part  III  and  the  bass  part.  The  "  Fifth 
Reader,"  with  its  optional  arrangements,  is  especially  adaptable  to 
these  varying  vocal  conditions. 

854.  There  is  no  problem  in  this  book,  with  the  exception  of  the 
four-part  song,  in  which  the  pupil  has  not  already  had  considerable 
experience.    The  study  is  therefore  almost  wholly  devoted  to  the 
reading  and  interpretation  of  standard  attractive  music,  and  choral 
work  of  high  quality  should  be  expected. 

855.  Owing  to  the  varying  vocal  conditions  in  this  grade  it  will 
be  necessary  to  leave  the  weekly  outlines  to  the  judgment  of  the 
teacher.    A  continuance,  as  far  as  possible,  of  good  tone  production, 
intelligent  sight  singing,  and  artistic  musical  interpretation  is  urged. 

856.  Musical  Forms  and  Musical  Biographies,  Part  V,  should 
be  studied  either  by  itself  or  in  connection  with  the  various  music 
texts  of  the   "  Fifth  Reader."    The   pupil    should   also   become 
familiar  with  the  terms  of  notation  in  the  glossary,  and  the  terms 
and  signs  of  expression. 

The  "  Fifth  Reader  "  furnishes  ideal  material  for  a  great  variety  of 
excellent  school  concert  programmes.    The  following  are  suggested. 

EIGHTH  AND  NINTH  YEARS 
857. 

1.  "  A  Coaching  Party  " E.  Jakobowski 

Page  2 

2.  "  Song  at  Evening  " Bizet 

Pagel 

3.  "  Autumn  " Rubinstein 

Pages 

4.  "  Annie  Laurie  " Lady  John  Scott 

Page  12 

5.  "  O  Rest  in  the  Lord  " Mendelssohn 

Page  13 

6.  "  The  Flying  Machine  " A.S.Sullivan 

Page  18 

7.  "  December  " Chopin 

Page  23 

8.  "  Class  Song  at  Parting  " Franz  Abt 

Page  21 


166  MUSIC  IN  THE  PUBLIC  SCHOOLS 

858. 

1.  "The  Skylark" W.  W.  Gilchrist 

Page  25 

2.  "  Sailors'  Chorus" Wagner 

Page  28 

3.  "  The  Web  of  Life  "        Schumann 

Page  32 

4.  "  The  Fairy  Revel  " A.  S.  Sullivan 

Page  35 

5.  "  The  Rose  and  the  Song  " Grieg 

Page  45 

6.  "  Charity  "         Rossini 

Page  48 

7.  "  Good  Night  " Franz 

Page  56 

859. 

1.  "  The  March  of  the  Spheres  " Karl  Goldmark 

Page  145 

2.  "  Nathan  Hale  " Swedish  Folk  Tune 

Page  148 

3.  "  Message  of  the  River  " Beethoven 

Page  150 

4.  "  National  Song  "       Grieg 

Page  152 

5.  "  The  Minuet  " Harvey  Worthington  Loomis 

Page  158 

6.  "  March  from  A'ida  " Verdi 

Page  154 

7.  "  To  Thee,  O  Country  "        Julius  Eichberg 

Page  207 

860. 

1.  "  Spring  Song  " Mendelssohn 

Page  111 

2.  "  Estudiantina  " P.  Lacome 

Page  58 

3.  "  The  Minstrel  Boy  " Irish  Folk  Song 

Page  64 

4.  "  On  Horseback  " Rubinstein 

Page  66 

5.  "Barcarolle" J.  R.  Planquette 

Page  69 

6.  "  Off  to  the  Front  " E.  Jakobowski 

Page  72 

7.  "  Stars  of  the  Summer  Night  " Henry  Smart 

Page  4 

861. 

1.  "  The  Heavens  are  Telling  " Haydn 

Page  107 

2.  "  The  Merry  Monarch  " Scotch  Folk  Tune 

Page  76 

3.  "  Trust  in  the  Lord  " Handel 

Page  78 


EIGHTH  YEAR  167 

4.  "  The  Twins  " Caryl  B.  Rich 

Page  80 

5.  "  The  Bluebird  " Henry  K.  Hadley 

Page  88 

6.  "Rain  Song" Ambroise  Thomaa 

Page  94 

7.  "Daybreak" W.  W.  Gilchrist 

Page  99 

862. 

1.  "  A  Spring  Song  " Grieg 

Page  196 

2.  "  Silent  Night  " J.  Barnby 

Page  164 

8.  "Morning" Arthur  Edward  Jo hnstone 

Page  168 

4.  "  My  Old  Kentucky  Home  " Stephen  Foster 

Page  165 

5.  "  The  Twenty-third  Psalm  " Mendelssohn 

Page  170 

6.  "The  Fairies' Moonlight  Dance  " Louis  Gregh 

Page  173 

7.  "  Love  Divine  " John  Stainer 

Page  179 

863.  Contemporary  Master  Musicians 

MENDELSSOHN 1809-1847 

SCHUMANN 1810-1856 

Their  Life,  Character,  Work,  and  Musical  Numbers 

from  the 

New  Educational  Music  Course 
"Fifth  Reader" 

Mendelssohn Spring  Song 

Page  111 

Schumann The  Web  of  Life 

Page  32 

Mendelssohn 0  Rest  in  the  Lord 

From  the  Oratorio  "  Elijah,"  page  13 

Schumann Cradle  Song 

Page  127 

Mendelssohn The  Twenty-third  Psalm 

Arranged  from  "A  Midsummer  Night's  Dream,"  page  170 


168  MUSIC  IN  THE  PUBLIC   SCHOOLS 


864.  Three  Great  Oratorios 

HAYDN THE  CREATION 

MENDELSSOHN ELIJAH 

GOUNOD THE  REDEMPTION 

Musical  Numbers 

from  the 

New  Educational  Music  Course 
"Fifth  Reader" 

Haydn The  Heavens  are  Telling 

From  the  Oratorio  "  The  Creation,"  page  107 

Mendelssohn 0  Rest  in  the  Lord 

From  the  Oratorio  "  Elijah,"  page  13 

Gounod Lovely  Appear 

From  the  Oratorio  "  The  Redemption,"  page  141 


865.  Four  Great  Song  Composers 

SCHUBERT 1797-1828 

SCHUMANN 1810-1856 

FRANZ 1815-1892 

GRIEG 1843-1907 

Selections 

from  the 

New  Educational  Music  Course 
"Fifth  Reader" 

Grieg The  Rose  and  the  Song 

Page  45 

Schubert Hark .'  Hark !  the  Lark 

Page  199 

Schumann Cradle  Song 

Page  127 

Grieg National  Song 

Page  152 

Franz Good  Night 

Page  56 


EIGHTH  YEAR  169 


866.  Song  Forms  Illustrated 

Selections 

from  the 

New  Educational  Music  Course 
"  Fifth  Reader  " 

William  V.  Wallace Hymn  of  Adoration 

One-period  Song,  page  79 

Lady  John  Scott Annie  Laurie 

Two-period  Song,  page  12 

Rubinstein Autumn 

Three-period  Song,  page  8 

Irish  Folk  Song The  Minstrel  Boy 

Folk  Song,  page  64 

Franz  Abt Class  Song  at  Parting 

Strophe  Song,  page  21 

Henry  Smart Stars  of  the  Summer  Night 

Art  Song,  page  4 

J.  L.  Molloy The  Little  Tin  Soldier 

Ballad,  page  128 

Henry  Carey       America 

National  Song,  page  222 

867.  Kinds  and  Schools  of  Opera 

Selections 

from  the 

New  Educational  Music  Course 
"Fifth  Reader" 

Bizet Song  at  Evening 

Arranged  from  the  Opera  Comique  "Carmen,"  representing  the 
French  School  of  Opera,  page  1 

Mozart Who  Treads  the  Path  of  Duty 

Arranged  from  the  Grand  Opera  "  The  Magic  Flute,"  representing  the 
German  School  of  Opera,  page  132 

A.  S.  Sullivan The  Fairy  Revel 

Paraphrase  from  the  Comic  Opera  "  Pirates  of  Penzance,"  page  35 

Verdi March  from  Alda 

Arranged  from  the  Grand  Opera  "  AVda,"  representing  the  Italian 
School  of  Opera,  page  154 

Wagner Sailors'  Chorus 

Arranged  from  the  Grand  Opera  "  The  Flying  Dutchman,"  representing 
the  German  School  of  Opera,  page  28 


170  MUSIC  IN  THE  PUBLIC  SCHOOLS 


868.  Instrumental  Music  Forms  in  Song 

Selections 

from  the 

New  Educational  Music  Course 
"Fifth  Reader" 

Rubinstein Autumn 

Arranged  from  Pianoforte  Composition,  "  Melody  in  F,"  page  8 

Chopin December 

Arranged  from  Nocturne  No.  15,  page  23 

J.  R.  Planquette Barcarolle 

Barcarolle,  arranged  from  the  Comic  Opera  "  The  Chimes 
of  Normandy,"  page  69 

Ambroise  Thomas Rain  Song 

Gavotte,  arranged  from  the  Opera  Comique  "  Mignon,"  page  94 

Mendelssohn Spring  Song 

Arranged  from  the  Pianoforte  Composition  "  Spring  Song,"  page  111 

Karl  Goldmark The  March  of  the  Spheres 

Arranged  from  the  Symphony  "  A  Country  Wedding,"  page  145 

Beethoven Message  of  the  River 

Arranged  from  Sonata  VIII  (Pathe'tique),  page  150 

Harvey  Worthington  Loomis The  Minuet 

A  Minuet,  page  158 

L.  Gottschalk God's  Sentinels 

Arranged  from  the  Pianoforte  Composition  "  The  Last  Hope,"  page  172 


869.  Familiar  Songs  for  Social  Gatherings 

(To  be  sung  from  memory) 

Selections 

from  the 

New  Educational  Music  Course 
"  Fifth  Reader  " 

Lady  John  Scott Annie  Laurie 

Page  12 

Johanna  Kinkel Soldier's  Farewell 

Page  121 

Traditional There 's  Music  in  the  Air 

Page  122 

Stephen  Foster My  Old  Kentucky  Home 

Page  165 

C.  Wilhelm The  Watch  on  the  Rhine 

Page  210 

Rouget  de  Lisle Hymn  of  the  Marseillaise 

Page  211 

Welsh  Patriotic  Song Men  of  Harlech 

Page  214 


EIGHTH   YEAR  171 


870.  Closing  Exercises 

Musical  Selections 

from  the 

New  Educational  Music  Course 
"  Fifth  Reader  " 

Julius  Eichberg To  Thee,  0  Country 

Page  207 

E.  Lassen Song  of  Spring 

Page  2(>i 

Louis  Qregh The  Fairies'  Moonlight  Dance 

Page  173 

Arthur  Edward  Johnstone Morning 

Boys'  Union  Chorus,  page  168 

E.  Jakobowski Off  to  the  Front 

Arranged  from  the  Comic  Opera  "  Erminie,"  page  72 

P.  Lacome Estudiantina 

Page  58 

Franz  Abt Class  Song  at  Parting 

Page  21 


SUMMAEY  OF  MELODIC  INTERVALS  OK 
TUNE  IN  MUSIC 


intervals  871.  Intervals  in  melodic  progression  are  of  two  classes,  those 

without  in- 
termediate     which  involve  intermediate  tones  and  those  which  do  not.     Of 
tones 

the  latter  class  there  are  frequent  skips,  very  frequent  skips,  and 
infrequent  skips. 

872.  The  very  frequent  skips  are  1-3,  3-5,  5-8,  1-8,  5-3,  2-7, 
2-5,  5-2,  5-7,  and  3-8. 

873.  The  frequent  skips  are  1-5,  3-6,  5-7,  2-4,  4-7,  5-4,  4-6, 
6-8,  1-4,  and  5-5. 

874.  The  infrequent  skips  are  8-4,  2-8,  1-6,  3-7,  1-7,  5-6, 
4_6,  4-7,  2-6,  2-6,  6-7,  3-6,  3-7,  and  2-7. 

intervals  875.  Of  the  former  class  there  are  intervals  with  the  intermedi- 

mediate  tones  ate  tone  preceded  and  followed  stepwise,  the  intermediate  tone 
preceded  stepwise  and  followed  skipwise  and  vice  versa,  the  inter- 
mediate tone  hi  chromatic  scale  fragments,  and  the  intermediate 
tone  preceded  and  followed  skipwise. 

Intervals  may  be  presented  by  oral  dictation,  by  staff  dictation, 
or  by  both. 

876.  By  oral  dictation  it  is  meant  that  the  teacher  dictates, 
that  is,  asks  the  class  to  sing  a  scale  name,  as  8,  and  the  class 
responds  by  singing  the  correct  tone  and  syllable  do.    After  the 
first  year  scale  names  are  usually  dictated  in  groups  of  two  or 
more  at  a  time. 

877.  By  staff  dictation  it  is  meant  that  the  teacher  places  on 


Oral  dictation 


Staff  dictation 


the  blackboard  the  staff  representation  of  any  key,  as  Bb,  thus: 


•    •- 


— *- — -0 w- 

and,  after  telling  the  class  where  1  is  (if  this  is  necessary),  indi- 
cates the  tones  the  class  shall  sing  by  pointing  at  the  representa- 
tive note  heads. 

172 


SUMMARY  OF  MELODIC  INTERVALS  173 

878.  In  the  first,  second,  and  third  years  are  given  in  melodic  intervals  in 
progression  the  scale  and  its  parts  together  with  the  thirty-four  second,  and 

*    ,          third  grades 

skips  used  in  melody  not  involving  intermediate  sharps  or  flats. 
Each  progression  may  be  sung  in  different  keys,  but  should  not 
be  pitched  in  a  key  that  will  carry  the  high  tones  above  I  or  the 
low  tones  below  C. 

879.  In  the  fourth,  fifth,  sixth,  and  seventh  years  are  given  the  intervals  in 

.  the  fourth, 

intervals  used  m  melody  involving  intermediate  sharps  and  flats,  fifth,  sixth. 

and  seventh 

In  staff  dictation  here,  the  following  staff  representation  of  any  grades 
key,  as  C,  is  used,  thus : 
For  sharps 


~l?h  — 

—  |- 

\      \   tt  j-^g    J  tf«    w- 

*.__ 

«J 

$ 

i* 

IK 

_.  ^  —  —  H«- 

For 

flats 

n 

1 

1 

b^r— 

J- 

—  4- 

-t  — 

\- 

i            i 

Pea 

—  0— 

-9-*- 

E5E 

b*     J    b« 

Each  progression  may  be  represented  and  sung  in  different  keys, 
but  should  not  be  pitched  in  a  key  that  will  carry  the  high  tones 
above  I  or  the  low  tones  below  bi?. 

880.  The  following  melodic  progressions  represented  by  scale 
names  present  concisely  the  subject  of  intervals,  and  are  classified 
by  subject  and  by  year.    They  will  be  found  useful  for  daily  oral 
or  staff  dictation,  or,  if  preferred,  they  may  be  presented  in  notes  on 
the  staff  from  the  blackboard  as  sight-singing  material. 

881.  The  subject  interval,  or,  in  other  words,  the  interval  for  The  subject 

i       •  i  IT  ...,.  iii  mi       interval  in 

study,  in  each  melodic  progression,  is  indicated  by  large  type.    Ihe  large  type 
scale  names  in  small  type  introduce  this  interval  melodically  or 
complete  the  melodic  progression  in  which  it  is  introduced.  There- 
fore the  entire  progression  should  always  be  presented. 


174 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


MELODIC  PRESENTATION  OF  INTERVALS 
BY  SCALE  NAMES 


882. 

Scaleand          87654321 
scale  pro- 
gressions        1232171 

8765678          1234543     ' 
878                       8765443 

8766543 

FIRST 

883. 

YEAR 

Very  frequent  8558 

ii2772i 

3553                     1331 
5225321 

884. 

5775878 

3553                     5225878 

8338 

8118 

Frequent           1    1    2  4  4  2  1 
skips 
3663531 

1551321                 6886578 

3346643            n7447i 

SECOND 
YEAR 

5555321 

5775321                3341143 

3  345543 

• 

885. 

Infrequent         2662751 
skips                     

4  6  6  432.1 
3348843 
887337s 

1661543                 3773221 

3663251            3328821 
187227s            5665571 
58744763          2662531 

THIRD 
YEAR 

8871178 

6776531 

886. 

The  inter-         5  #4  5  8  5  4  3 
mediate  f  and        , 
0  preceded  and  6  i?7  O  5  6  7  8 
followed  step- 
wise 

887. 

1  FOURTH 
YEAR 

2  #1  2  4321 

3  #4  5  3  4  2  i 

6  JJ5  6  567  8 
8  \>1  6  6578 

3  #2  3  5321 
5  #4  3  5421 
7  #6  75678 

FIFTH 
YEAR 

SUMMARY  OF  MELODIC  INTERVALS 


175 


888. 

1  b2   1  342  1 

•» 

2  b3  2  5  3  2  i 

5  be  5  5  e  7  s 

889. 

5  #4  6  #4  5  3  i 

5  #4  7  #4  558 

5  #4  8  #4  5  6  i 

The  inter- 
mediate ft  pre- 

5 #4  2  #4  5  58 

5  #4  3  #4  558 

5  #4  2  #4  5  5  i 

ceded  step- 
wise  and  fol- 

5 #4  1  #4  553 

5  #4  7  #4  5  *4  3 

3  5  *4  5  4  #4  5 

lowed  skip- 
wise  and  vice 

versa,  and  the 

5  4  5  #4  4  4  3 

intermediate 

TT 

ft  in  a  chro- 

6 #5  7  #5  6«56 

6  #5  8  #5  6«56 

6  #5  2  #5  6  8  6 

matic  scale 
fragment 

6  #5  3  #5  6  86 

6  #5  3  #5  6  is  e 

6  #5  1  #5  6  36 

3  6  S5  6  5  #5  6 

2#1  3#1  2si 

2#1  4#1  2  si 

2#1  5  #1  2  3  i 

2  #1  6  #1  253 

2#1  7  #1  2si 

2#1  6  #1  2  s  i 

SIXTH 

2#1  5#1  27i 

2*1  2   1  #1   2  1 

YEAR 

3  #2  5  #2  3  31 

3X  •  '       i  '       X   •'••-, 
£_    O  OZ  o  5  1 

3  #2  7  #2  3  6  5 

3  #2  1  #2  358 

3  #2  7  #2  35i 

1  3*2  3  2  #2  3 

8  5  6  #6  7  5  8 

890. 

6b7  5b7  658 

6  b7  3  b7  6  58 

6b7  1  b7  6  5  8 

The  inter- 

mediate 

6b7  2b7  658 

6  b7  3  b7  6  58 

8  7  b7  6  5  5  8 

t>  preceded 

2  b3  1  b3  2  51 

2  b3  5b3  2  7  i 

2b3  5  b3  2  7  i 

stepwise  and 
followed  skip- 
wise  and  vice 

i  32  3  b3  2  i 

versa,  and  the 
intermediate 

5  be  4be  5  53 

5  be  2  be  5  5  1 

5  be  i  be  5  5  3 

b  in  a  chro- 
matic scale 

fragment 

5  be  8  be  553 

5  be  4be  5  38 

5  5  6  b6  5  5  8 

1  b2  4b2  1  si 

i  i  13  2  b2  1 

176 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


891. 

The  inter- 
mediate $ 

5604 

65 

3  1 

5 

704 

76 

5  8 

5  8 

048 

551 

preceded  and 
followed 

5204 

27 

58 

5 

304 

32 

5  8 

5  2 

042 

531 

skipwise 

8104 

15 

5  3 

5 

7  04 

7  5 

34  3 

6705 

78 

7  6 

6 

805 

8  7 

3  6 

62 

052 

876 

6305 

38 

7  6 

6 

305 

38 

7  6 

6  1 

051 

6  15  6 

1301 

32 

3  1 

2 

401 

42 

3  1 

25 

015 

231 

2  6  01 

65 

3  1 

2 

7  01 

72 

5  1 

16 

01  6 

251 

1501 

5  2 

3  1 

3  5  02 

53 

5  1 

3 

602 

6  5 

3  1 

3  7 

027 

5  *4  3 

SEVENTH 
YEAE 

3102 

1  3 

5  1 

3 

Z  #2 

7  3 

82  3 

892. 

The  inter- 

55b7 

5  6 

5  8 

6 

3b7 

36 

S5  6 

6  1 

b7  1 

658 

mediate  b 

preceded  and 

62b7 

2  6 

5  8 

6 

3b7 

3  6 

$5  6 

followed 

skipwise 

3  1  b3 

1  2 

7  1 

3 

5  b3 

52 

5  1 

3  5 

b3  5 

251 

54be 

45 

4  3 

5 

2  be 

2  5 

3  1 

5  1 

be  i 

543 

5  8b6 

8  5 

7  8 

5 

4b6 

4  3 

5  8 

i  4b2 

4i 

1  1 

- 

893.  For  an  easy  introduction  to  each  of  the  sixth-  and  seventh- 
year  phrases,  except  the  chromatic  scale  fragments,  require  the 
class  to  sing  the  first  and  second,  then  the  first  and  third,  tones 
of  each  phrase ;  for  example,  in  the  sixth  year 


5  #4  56 

and  in  the  seventh  year 

56  5JJ4 


5  #4  6  J4  5  3  i 


5  6  JJ4  6  5  3  1 


894.  The  difficulty  of  some  passages  with  intermediate  tones  is 
due  to  the  fact  that  a  temporary  transition  has  been  made,  and  for 
the  time  being  the  key  is  different  from  that  which  the  key  signa- 
ture represents.  In  such  cases  the  difficulty  may  be  obviated  by 
first  leading  the  pupil  to  sing  the  passage,  using  the  syllables  of 


SUMMARY  OF  MELODIC  INTERVALS 


177 


the  new  key ;  then  to  substitute  the  syllables  according  to  the  key 
signature,  for  example : 

Temporary  Transition  to  D  major 


In  the  last  four  measures  of  this  staff  there  is  a  temporary  tran- 
sition to  D  major,  and  if  the  pupil  has  any  difficulty  in  singing  the 
intermediate  sharp,  let  him  sing  the  syllables  sol  ti  sol  fa  mi  re  do ; 
then  substitute  the  syllables  of  the  key  represented  by  the  signa- 
ture, namely  re  fi  re  do  ti  la  sol. 


178 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


SCALE  BUILDING  AND  RESULTING   SIGNATURES 


895. 


Major  scale 
of  C,  the  staff 
without 
signature, 

compared 
with  the 

major  scale 
built  on  G 

Major  scale 
of  C,  the  staff 
without 
signature, 

compared 
with  the 

major  scale 
built  on  D 

Major  scale 
of  C,  the  staff 
without 
signature, 

compared 
with  the 

E2~                                 -      • 

9 

»  - 

] 

BEE           r-*  —  •—  *— 

J        -*-  •                     I 

12345678 
cde~Fgabc 

2 
d 

345 
e     F      g 

I 

Resulting 
signature 

.  i    Olt 

\~rjL  —                                                                  —  ~m  —  '  — 

—  •— 

E^^ 

ffT\                                                                                                           tf               ^ 

f(T\ 

[     ^My 

I  I   \MJ 

1234 

896.                                  g     a      B  c 

5 
d 

6        78 

e      %  g 

-      t 

\f                                                                                                         0         *     * 

(5)                                          •      *      * 

~*~                                                      1 
12345678 

cJ      el      g      a      Be 

2 
d 

345 

e  I      g 

Resulting 
signature 

xT                                                             0    C* 

1     /%.   ff 

~^K  —                        —  •  —  ti'  —  *  — 

1     i(Jj  1[  

1234567 
897.                d      e      ^fg      a      B      c\ 

8 

f3 

\J 

»  • 

I 

n 

+    -•-*                                        T 

12345678 
6        78 

abc      d      el      ga      Be 
—  Q- 

2 

d 

34        5 

e  1     g 

r 

Resulting 
signature 

built  on  A 

3?E                       ~fe~»~ 

Saz           M           .   >   #» 

1  v-\J 

a      b       cjfcl      e      f#    gj  a 


898. 


SUMMAEY  OF  MELODIC  INTERVALS 


179 


—  *  —  •• 

•      • 

Iof  C.  the  staff 

-m  —f 

without 

\J                  +.       O 
123 
c      9     e 

4567 

f      g      a      5 

12345                                       signature, 
a 
Resulting           compared 
c       9       e    1      g            signature          with  the 

nJ*  ft.. 

"3-                                                                                                                                  H&     9. 

I\j  tf  U"  ft         major  scale 

rfm  —                         —  n  —  fc—  »  —  •  —  **  —  ff^- 

t-^ft-i—  buiitonE 

1 
899.                   g 

HF-iiF  
2345 

Iff    gtfa      5 

678                             ™ 

1                              Major  scale 

-p  —  •  — 

without 

1        2        3 

7    8 

b  c      9      e 

4567 
f       g       a       ^ 

12345                                        signature, 
8 
compared 
Resulting           withthe 
c       9       e    f       g            signature 

—  yf  — 



>T   "Q   Ifu         built  on  R 

ifh 

LL  __  ft^     »•    • 

1   f/K   ff  '"fl        DUIII  on  rs 

V  \J                  ..          u       • 

«•     »•     tr 

1   ^MJ           ff 

«J                     *  —  _     D* 
*~    if 

1234 

900.  b     eft    9#e 

5678 

'  '      O 

-       « 

i/ 

i       •    • 

1                             Major  scale 

~~/K  — 

—  ,  •- 

•       • 

of  C,  the  staff 

123 

c      9      e 

A 

•       * 

4567 
f       g      a       13 

I                               without 
12345                                        signature, 

Q 

Resulting           compared 
c       9      e    1       g           signature           withthe 

L/ 

u       tt«     Jt*tt* 

1       Vffwfltf  0     mamraaaa 

J?L 

u       u      M 

Lv9l-!liI_Sj*tf    £r,ii*™  IT* 

ifn 

u        tU     tt* 

fl"          ' 

132 

ftp      fl*      fT 

l  \>\}       ff  • 

o 
901. 

1234 

IJ    gj    ajB 

5678                      ° 

~~ii         T"Li          Xlf  Ji* 

im 

m       9 

VJJ                             — 

9         ^ 

without 

C              _,_     » 
123 

c      9      e 

A 

4567 
f       g      a      B 

signature, 

Resulting           compared 
o                                           signature           witfi  the 

y                                     IL  w 

IyffJT'ff  BIL    major  scale 

XL    5  Tfi*ff1t    built  on  C« 

i?r\                   .  u  i*_   #-   D*   ?r^" 

f(T\    "      ff  tt     BHUlollv'» 

2345678 


180 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


SCALE  BUILDING  AND  KESULTING  SIGNATURES 


902. 


Major  scale 
of  C,  the  staff 
without 
signature, 

compared 
with  the 

major  scale 
built  on  F 


Major  scale 
of  C,  the  staff 
without 
signature, 

compared 
with  the 


major  scale 
built  onBb 


~  73: 

—  0-'   •       H 

\(V\ 

^ 

*                U 

LW-        +  •    •  ' 

1234 

e      3      e    f 

5 

g 

I        2        3    4        5 

6        78 
T    =       -       =    -       =         Resulting 
a       be       del       g        signature 

Is 

,          _,••                  1     Jf  k 

/ft\ 

*                                                   -     1      /kP 

VMJ                                m 

1      >MJ 

i 
903.                           1 

2 

g 

34        5        6        78 

a  Bb     c      ^      el 

\f 

V                                                  { 

tf\\  

-9  •-* 

\>\)                           0  0 

1 

-*-     ~*~  1        2        34 
678 

a      be      3      e   f 

r-& 

5 

g 

6        78 

Resulting 
a       Be                                         signature 

n  i  —  &-b  

2E 

~^T~                                    /b 

/m 

« 

0  V*                                                            f(\\V 

1        2 

904.    bb    c 


34        5        6        78 

cl  eb    I      g      a  Bb 


Major  scale 
of  C,  the  staff 
without 
signature, 

compared 
with  the 


major  scale 
built  on  Eb 


/r 

0                 ^ 

Resulting 
signature 

A    h 

I-4&  — 

—  H 

r\ 

1234 

c      3      e   T 

567 
g      a       B 

12345 
8 

c      3      e   f      g 

tr 

•  b*                   1 

y  \  " 

A. 

h       nm 

0      m 

XL  b  h 

irh 

mV9      V* 

. 

IITiV   P 

12345678 
eb    F      g  ab    bb     c      J  eb 


905. 


SUMMARY  OF  MELODIC  INTERVALS 


181 


SJF~               ,  .  •  •  ^-' 

(Major  scale 
of  C,  the  staff 

•*•"""  1        2        34        5        6        7 
6       78 

a      b  c      3      e   f      g      a      B 

8 
C 

signature, 

compared 
Resulting           with  the 
signature 

xT                                                k 

12345678 
906.  ^  bt?    c  31?    et?    1      g  at? 

~9  •  — 

iJ                                      0           ^ 

1234567 

c      a      e  F      g      a      B 

123 

8 

c      3      e 

signature, 

Resulting            C°mf¥l?d 
signature 

L/                                                              i             |}0 

II     Jr  i_fr  b         major  scale 

d£k  —                                   —  t—  —  b*  —  9*  — 

1  rfPK^  b^fa  —  built  on  D" 

vvl^                             L-         n^        ^ 

L 

123456 
907.                 31?    el?    f   gb    ab    Bb 

7    8 

c  ab 

Jf  — 

.w  ^  m  1 

ff>T\                                                                                      ^9 

without 
signature, 

Resulting           wjtn^-he 
signature 

\-\)                                        u    m       m 

1 

O                               m-        9 

^r^ 

1234567 
c      3      e    I      g      a      B 

T       2        3    4        5 

8 

c     d     e~  F      g 

.      u      -b» 

L/                                                                                                                                                                                                                                           L_ 

hm      V9         *              ] 

II     V  i  ™  h  h      major  scale 

j/f"                                                                                               i_            DM  **9 

99                                   \ 

1     X  U    i-f.  (7       X..J1*  «-  r-ti 

\(T)                                           P^    P*                                               1  1  1  I(D  "  ^  t? 

°                                                    12345678 

908.                         gb  a>   Bb^b  ab  ei?   1  |b 

ij 

i      ^32                                                                                                m*        9 

without 

1234567 
c      3      e   f      g      a      B 

8 
C 

signature, 

Resulting           compared 
signature            ""itb  tne 

if-                                                                            K 

1  I     V  i  b  b  K     major  scale 

>T                                          .        u       ^  P» 

/L  b  K  i  f      built  on  Ct> 

1    f(n    °  b  h  DUUlonv'1/ 

*-8^-       ^.  b*  ^g  "  ^-v  —  1-Jt 

12345678 

ci?  ab  eb  fl?   gb  &b  BJ?  cb 

SUMMARY  OF  RHYTHMIC  TYPES,  FIGURES, 
AND  GROUP  BEATS,  OR  TIME  IN  MUSIC 


Rhythmic 
Type 


Fundamental 
Types 


Derivative 
Types 


Rhythmic 
Figure 


909.  The  time  values  of  notes  are  here  presented  in  the  various 
forms  of  the  Rhythmic  Type,  the  Rhythmic  Figure,  and  the 
Rhythmic  Group  Beat. 

910  A  Rhythmic  Type  is  a  time  value  equal  to  one  beat  in  any 
measure  of  simple  time. 

911.  There  are  four  fundamental  Rhythmic  Types,  or  Types 
as  they  are  called  briefly,  and  in  quarter  measure  they  are  repre- 
sented and  named  as  follows : 

9  Type  One,  so  named  because  it  represents  one  tone 

to  the  beat. 

J^  J^  Type  Two,  so  named  because  it  represents  two  equal 

tones  to  the  beat. 

Type  Four,  so  named  because  it  represents  four  equal 
tones  to  the  beat. 

Type  Three,  so  named  because  it  represents  three 
equal  tones  to  the  beat. 


*i   *   « 


912.  There  are.  two  derivative  types  in  frequent  use,  and  in 
quarter  measure  they  are  represented  and  named  as  follows  : 

*  •     «r  Type  Four  modified,  so  named  because  it  is  a  modi- 

fication of  Type  Four. 

J  3   *  Type  Three  modified,  so  named  because  it  is  a  modi- 

x     ^  fication  of  Type  Three. 

913.  A   Rhythmic  Figure  is  a  combination  of  two  different 
Rhythmic  Types, 

182 


SUMMARY  OF  TIME   IN   MUSIC  183 

914.  There  is  but  one  Rhythmic  Figure,  or  Figure   as  it  is 
called  briefly,  in  frequent  use,  and  in  quarter  measure  it  is  repre- 
sented and  named  thus : 

J .       J^        Figure  One,  a  combination  of  Type  One  and  Type 
Two. 

915.  A  Rhythmic  Group  Beat  is  a  time  value  equal  to  one  beat  Rhythmic 

J  Group  Beat 

m  any  measure  of  compound  time. 

916.  There  is  but  one  fundamental  Rhythmic  Group  Beat,  or  Fundamental 

Group  Beat 

Group  as  it  is  called  briefly,  and  it  is  represented  and  named 
thus: 

*    J^  J^       Group  Three,  so  named  because  it  represents  three 
tones  to  the  group  beat. 

917.  There  are  two  derivative  groups  in  frequent  use  and  they  Derivative 
are  represented  and  named  as  follows : 

J       J^         Group  Two,  so  named  because  it  represents  two  tones 
to  the  group  beat. 

J  •  Group  One,  so  named  because  it  represents  one  tone 

to  the  group  beat. 

918.  The  characteristic  of  the  Type  is  that  it  always  stands  for 
the  beat  in  simple  time.    In  quarter  measure  it  is  represented 
by  the  time  value  of  the  quarter  note,  in  eighth  measure  by  the 
time  value  of  the  eighth  note,  and  in  half  measure  by  the  time 
value  of  the  hah*  note. 


184  MUSIC  IN  THE  PUBLIC  SCHOOLS 

EQUIVALENT  REPRESENTATIONS  IN  DIFFERENT 
KINDS  OF  MEASURE  OF  SIMPLE  TIME 


Such  as 

Such  as 

Such  as 

3  or  4 

8   U1    8 

2    3    or  4 
4>  4>  U1    4 

2   nr   3 
2   U1    2 

919. 

measure 

measure 

measure 

Type  One 

J* 

j 

J 

Type  Two 

/3 

J~3 

j     J 

Type  Four 
Type  Four  modi- 
fied 

Type  Three 

Type  Three  modi- 
fied 

Figure  One 

920.  The  characteristic  of  the  Group  is  that  it  always  stands  for 
the  beat  in  compound  time.  In  eighth  measure  it  is  represented 
by  the  time  value  of  a  dotted  quarter  note,  in  quarter  measure  by 
the  time  value  of  a  dotted  half  note. 

EQUIVALENT  REPRESENTATIONS  IN  DIFFERENT 
KINDS  OF  COMPOUND  TIME 

Such  as  Such  as 

|,  |,  or  l£  measure      \  or  |  measure 

Group  Three       J*J*J*  j    j    j 

Group  Two         j        J*  J         J 

Group  One  J  •  es  • 


SUMMARY  OF  TIME  IN  MUSIC  185 

921.  The  five  fundamental  forms  —  Type  One,  Type  Two,  Type 
Three,  Type  Four,  and  Group  Three  —  are  taught  by  imitation. 

922.  Each  derivative  form  may  be  taught  by  demonstrating  its 
derivation  or  by  imitation. 

After  the  pupil  has  mastered  a  fundamental  form  he  will  be 
able  to  grasp  its  derivative  more  readily.  Further  derivatives 
therefore,  whether  they  be  modifications  or  combinations,  may  be 
imparted  with  but  little  difficulty. 

923.  Derivative  forms,  in  addition  to  those  already  presented,  Additional 
and  those  in  more  frequent  use  are  classified  as  follows:  from 

Type  One,  J ,  by  combination  are  derived  the  Double  Type,  ey , 

the  Triple  Type,  <&  • ,  and  the  Quadruple  Type,  & ;  from  Type 

L_4^  I       LJ 

Four,  4  j  0  j ,  by  contraction  are  derived  Type  Four  a,  J     «TJ > 

and  Type  Four  b,  Jj  J;  from  Type  One,  J,  and  Type  Four 
modified,  J .  * ,  by  combination  is  derived  Figure  Two,  J  •  •  J^ ; 
from  Group  Three,  J  J  J ,  by  modification  is  derived  Group  Three 
modified,  J-  3  J;  and  from  Group, Two  by  expansion  is  derived 
Group  Two  modified,  J  Jj 

924.  Figure  One,  J  •      J\  and  Figure  Two,  J  •  •      J^ ,  are  easily 
remembered  from  the  fact  that  Figure   One  has  one   dot  and 
Figure  Two  has  two  dots. 

925.  In  presenting  or  drilling  any  type,  figure,  or  group  beat  Beat  accent 
but  one  accent  is  used  and  that  is  the  beat  accent.   In  other  words, 

the  first  tone  of  every  beat  is  accented  and  no  other  accent  is  used 
in  elementary  sight  singing. 

926.  The  following  eighteen  rhythmic  exercises  present  on  one 
tone  the  Types,  Figures,  and  Groups,  classified  in  the  order  of  teach- 
ing by  grades.    The  importance  of  the  fundamental  forms  is  indi- 
cated by  the  large  type,  the  more  important  derivatives  are  in  type 
next  in  size,  and  the  less  important  derivatives  are  in  small  type. 

927.  Each  exercise  consists  of  two  phrases.    The  first  phrase  of 
four  notes  represents  a  regular  succession  of  beats  and  the  second 
phrase  introduces  the  new  form. 


186 


MUSIC  IN  THE  PUBLIC  SCHOOLS 


Rhythmic  928.  These  exercises  may  be  presented  by  dictation  as  follows  : 

Give  any  suitable  pitch,  as  d,  and  require  the  class  to  sing,  using 

oral  rhythmic  any  syllable,  as  do,  and  accenting  the  first  tone  of  each  beat.  Dic- 
tate orally,  "Type  One  four  times  and  Type  Two  four  times, — 
sing,"  or  let  the  class  sing  from  the  copy  on  the  blackboard,  thus : 


Written 

rhythmic 

dictation 


or  thus, 


j  j 


j 


n  n 


MONOTONE  PEESENTATION  OF  THE  RHYTHMIC 
TYPES,  FIGURES,  AND  GROUP  BEATS 


TYPE  ONB 


929. 

L_J°  * 

J?  ilt»T      1  fiiAK 

i 

11 

mr 

Introducing 
the  Double 
Type 


930. 

fc 


Introducing 
the  Triple 
Type 


931. 


SECOND  YEAR 


Introducing 
the  Quadruple 
Type 


932. 


Introducing 
Group  One 


933. 


THIRD  YEAR 


SUMMARY  OF  TIME  IN  MUSIC 
934.  THIRD  YEAR  (continued) 


187 


t=       i  i  i  i  i  i  !  i  iTTT 

*•    J»    JJ-J  JJJ-WV^  •i^^'1 


935. 


1 

*          »          »          »          »     »       V     «       «*        .     . 


Introducing 

GROUP 

THREE 


Introducing 


936. 


FOURTH  YEAR 


*  *  »  *  *  *—-* 


937. 


j  j  j    j.  /  j. 


938. 

£ft 


FIFTH  YEAR 


J    J    J 


939. 


940. 


941. 


=ffi-^ 

-y  J  J  J  ^v?  j  n-fEFj  n  J 


Introducing 
Figure  One 


Introducing 
TYPE  FOUR 


Introducing 
Type  Four  a 


Introducing 
Type  Four  b 


Introducing 
Four 


Introducing 
Group  Two 
modified 


Introducing 
Group  Three 
modified 


Introducing 
TYPE 

THREE 


188 


944. 


MUSIC   IN  THE  PUBLIC   SCHOOLS 

FIFTH  YEAR  (continued) 
942. 

r-P*. 


943. 


i  ^   — \-> 

+-*-*-*.- 


—} — I — i — I — i  i  i     MI — ^^ — r^™1'  1 1 

—I 1 1 1 1 — i — i — i — i 1 — i — i 1 — — i-4l 

+—-*—*—* — ^v-vw-*-*  <^  wvw-13 


Introducing 
Type  Three 
modified 


945. 


SIXTH  YEAR 


Introducing 
Figure  Two 


946. 


947.  The  following  rhythmic  exercises  in  scale  progressions  are 
intended  for  further  drill  in  Types,  Figures,  and  Groups.  They  are 
classified  by  grades  and  are  to  be  placed  upon  the  blackboard  for 
presentation. 


SUMMARY  OF  TIME  IN  MUSIC 


189 


SCALE  PRESENTATION  OF  RHYTHMIC  TYPES,  FIGURES, 
AND  GROUP  BEATS  IN  COMBINATION 


948. 

& 


FIRST  YEAR 


>rr  r  r  ^  J 


949. 


42. ._.  .1=^. 


J  J 


^^ 


Type  One 


Double  Type 


£ 


^ 


^ 


^  r  r  r  r  F^£-J-^^^^g 


950. 


SECOND  YEAR 


Triple  Type, 
~    idruple 


190  MUSIC  IN  THE  PUBLIC  SCHOOLS 

SECOND  YEAR  (continued) 


4"*- 

—  ^  — 

£?  

1  ^_ 
<^J  •                   g. 

-3= 

&  »—  i  

-P-      0—  f       p       gl .       ^- 


I 


951. 


THIED  YEAK 


Group  Three, 
Group  One 


952. 


SUMMARY  OF  TIME  IN  MUSIC 
THIRD  YEAR  (continued) 


191 


953. 


Group  Two 


•^^Hzjzg  j  j  j  j  - 


FOURTH  YEAR 


Type  Two 


192 


MUSIC  IN  THE  PUBLIC  SCHOOLS 


FOURTH  YEAR  (continued) 


<—      1 


954. 


Figure  One 


-0 0- 


~0 — -0- 


SUMMARY  OF  TIME  IN   MUSIC 


193 


FOURTH  YEAR  (continued) 


955. 


FIFTH  YEAR 


Type  Fo« 


956. 


m 


E££^g-&SLEBJfr7H» 


Type  Four  i 


194  MUSIC  IN  THE  PUBLIC   SCHOOLS 

FIFTH  YEAR  (continued) 


957. 


Type  Four  6 


Type  Four 
modified 


958. 


959. 


960. 


961. 

#*F 


SUMMARY  OF  TIME  IN  MUSIC 
FIFTH  YEAR  (continued} 


195 


Group  Three 
modified 


^-*A^_« 


*  • 


Type  Three 


MUSIC  IN  THE  PUBLIC  SCHOOLS 

FIFTH  YEAR  (continued) 


962. 


Three       u^ty— » 
ifled  HtfW-ff: 


SIXTH  YEAR 


SUMMARY  OF  TIME  IN  MUSIC 
SIXTH  YEAR  (continued) 


197 


Figure  Two 


198  MUSIC  LN  THE  PUBLIC   SCHOOLS 

964.  SIXTH  YEAR  (continued) 


All  Types  and 
Figures 


All  Groups 


Infrequent 
derivative 
forms 


965. 


966.  Infrequent  derivative  forms  appear  occasionally  in  upper 
grade  music,  but  with  a  little  help  the  pupil  will  easily  recognize 
their  derivation  and  have  no  difficulty  in  reading  them  correctly. 

They  are  as  follows :  from  Type  Two  repeated,  JJ  0  J ,  by 
combination  is  derived  J^  J  4  ,  which  is  a  form  of  syncopation ; 
from  Type  Four  modified,  J  •  3 ,  is  derived  its  reverse,  ^J  •  , 
which  occurs  in  Scotch  folk  songs ;  from  Figure  One,  J  •  0  ,  is 
derived  its  reverse,  gP  J  •  ,  which  is  another  form  of  syncopation ; 
from  Type  One,  « .  and  Type  Four  a,  4  J"3,  by  combination  is 
derived  J  .  J"3 ;  from  Group  Three,  J  J  J ,  by  expansion  is  de- 

w  ^  ^ 

rived  the  several  forms  *P    0770,   0-     000,   0000    0, 

and  000000,  which  are  found  in  the  slow  movement  of 
§  measure. 


GLOSSARY 


TERMS  OF  NOTATION 


1.  Staff,    five    horizontal 
lines  and  four  equal  spaces. 

2.  Leger  Lines,  or  Added 
Lines,  light  lines  below  and 
above  the  staff. 


8.  A,  B,  C,  D,  E,  F,  G,  Pitches,  the 

first  seven  letters  of  the  alphabet  by 
which  tones  are  designated. 

4.  G  Clef  fixes  G  upon 
g  the  second  line,  around 

which  it  turns.   The  staff 
thus  marked  is  called  the  treble  staff. 

5.  F  Clef  fixes  F  upon 
the  fourth  line,  around 
which  it  turns.    The  staff 

thus  marked  is  called  the  bass  staff. 

6.  The  Great  Staff,  the  combined 
treble  and  bass  staves,  formerly  writ- 
ten as  an  eleven-line  staff. 

To  distinguish  between  pitches  in 
different  octaves,  the  following  dis- 
tinction is  made  :  great  octave,  small 
octave,  one-lined  octave,  two-lined  oc- 
tave. 


C  (great  c),  the  c  on  the  second  line 
below  the  bass  staff. 

c  (small  c),  the  c  in  the  second  space 
of  the  bass  staff. 

c  (one-lined  c),  the  c  on  the  first  leger 
line  above  the  bass  staff  and  on  the 
first  leger  line  below  the  treble  staff. 

c  (two-lined  c),  the  c  in  the  third 
space  of  the  treble  staff. 

7.  Brace,  a  vertical  line  which  joins 
two  or  more  staves. 

8.  Bars,    vertical    lines 
upon  the  staff. 

A  Bar  is  one  vertical  line. 
A  Double  Bar  is  two  vertical  lines 
and  sometimes  a  thick  vertical  line. 

9.  A  Measure,  the  space 
between  two  bars,  repre- 
senting a  group  of  strong 

and  weak  beats. 

10.  Notes: 

(a)  o    Whole  note,  an  open   note 

head  without  stem. 
(6)      |    Half  note,    an    open   note 
d        head  with  stem. 


^gspgg 


D  E  F  GAB||c  d  e  f  g  a  b||  c  d~  e  1  g  a  b~||  c  3  el  g  a  5  J|c 

GREAT  OCTAVK   SHALL  OCTAVE  ONE-LINED  OCTAVE  Two- LINED  OCTAVE 

199 


200 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


(c)  Quarter  note,  a  closed  note 

head  with  stem. 

(d)  \  Eighth  note,  a  closed  note 
J        head  with  stem  and  one 

hook. 

(e)  b  Sixteenth  note,    a    closed 
0        note  head  with  stem  and 

two  hooks. 

(/)     fc  Thirty-second  note,  a  closed 
•^      note  head  with  stem  and 

three  hooks. 

(g)  tt  Grace  note,  a  small  note 
J  with  or  without  a  stroke 
across  the  stem,  representing  a  passing 
tone  preceding  an  essential  tone,  and 
borrowing  the  time  it  occupies  from 
the  essential  tone. 

11.  Rests: 

(a)  -^ -  Whole  rest. 

(6)  jm.  Half  rest. 

(c)  ^  Quarter  rest. 

(d)  1  Eighth  rest. 

(e)  3  Sixteenth  rest. 

(f)  •  Thirty-second  rest. 

12.  The  Tie,    a 

curved  line  joining 
-^   ^-     two    notes   of    the 
same  pitch. 

It  indicates 
that  the  second 
note  over  or 
under  the  tie  is 
not  to  be  repeated,  but  sustained, 
that  is,  joined  with  the  first. 

j  \  13.  The  Dot,  placed  after  a 
'  '  note,  lengthens  it  one  half  ;  thus 
the  dot  after  a  half  note  takes  the 
place  of  a  quarter  note  tied. 


r 


The  dot  after  a  quarter  note  takes 
the  place  of  an  eighth  note  tied. 


The  dot  after  an  eighth  note  takes 
the  place  of  a  sixteenth  note  tied. 


The  dot  after  a  sixteenth  note  takes 
the  place  of  a  thirty-second  note  tied. 

?-*| 

The  dot  after  a  rest  lengthens  it  one 
half  ;  thus  the  dot  after  a  half  rest 
takes  the  place  of  a  quarter  rest. 

The  dot  after  a  quarter  rest  takes 
the  place  of  an  eighth  rest. 

The  dot  after  an  eighth  rest  takes 
the  place  of  a  sixteenth  rest. 


/  \  14.  The  Double  Dot,  placed 
'  '  after  a  note  or  a  rest,  lengthens 
its  duration  three  fourths ;  thus  the 
double  dot  after  a  half  note  takes  the 
place  of  a  quarter  note  and  an  eighth 
note  tied.  "  ^ x 


The  double  dot  after  a  quarter  note 
takes  the  place  of  an  eighth  note  and  a 
sixteenth  note  tied. 


15.  The  Phrase  Mark,  a  curved  line 
indicating  the  rhythmical  grouping  of 
notes. 

16.  The    Breath    Mark,   a   comma 
placed   above   the  staff  to  suggest  a 
place  for  taking  breath. 

17.  The  Slur,  a 
curved  line  joining 
^—  ^  two  or  more  notes 
of  different  pitch. 

It  indicates  that 
the  notes  so  joined 
are  to  be  sung  to 
one  syllable. 


GLOSSARY 


201 


;     »   ; 

I      J    i1    J 


Cs  Vi>  I8-  The  Hold,  or  Pause,  a 
dot  under  or  over  a  small 
curved  line.  It  means  that  the  note  or 
rest  over  or  under  which  it  is  placed 
is  to  be  held  longer  than  usual. 

19-staccat° 

I  Marks  direct 
that  the  tones 
be  distinct,  separated  from  each  other. 
The  wedge-shaped  marks  are  the  most 
emphatic  staccato  signs  ;  dots  over  or 
under  the  notes  with  a  sweeping  curve 
mark  the  slightest  staccato.  The  latter 
effect  is  called  non  legato. 

20.  Turn,  a  melodic  grace  rendered 
by  four  tones,  represented  by  the  note 
next  above  the  written  note,  the  writ- 
ten note  itself,  the  note  below,  and 
the  written  note  again.  The  sign  is  set 
either  after  or  over  the  note  modified. 


27.  Characters  affecting  Pitch  : 


21.  The  Repeat,  dots 
immediately  before  or 
after  a  bar.  It  indicates 

that  music  before  or  after  the  dots 

should  be  repeated. 

22.  ist  and  zd 
Endings,  signs  in- 
dicating that,  in 
the  repetition,  the 
music  marked  3d  time  must  be  substi- 
tuted for  that  under  the  sign  1st  time. 


D.C. 


23.  Da  Capo,  from  the  be- 
ginning (repeat). 


D.S. 


24.  Dal   Segno,  from   the 
sign  :$:  (repeat). 

25.  Al  Fine,  to  the  end. 

26.  Coda,  a  passage  at  the  end  of  a 
composition,  added  to  make  a  more 
effective  conclusion. 


(a)  * 
(6)   x 


(d) 


(«)  If 


tt 


The  Sharp  raises  the  pitch 
represented  by  a  staff 
degree  a  half  step. 

The  Double  Sharp  raises 
the  pitch  represented  by 
a  sharped  staff  degree  a 
half  step. 

The  Flat  lowers  the  pitch 
represented  by  a  staff 
degree  a  half  step. 

The  Double  Flat  lowers  the 
pitch  represented  by  a 
flatted  staff  degree  a  half 
step. 

The  Natural,  or  Cancel,  re- 
moves   the    effect    of    a 
sharp  or  flat ; 
removes  the  effect  of  one 
of  the  two  flats  in  ft? ; 
removes  the  effect  of  one 
of  the  two  sharps  in  x  . 


28.  Interval,  the  difference  in  pitch 
between  two  tones. 

29.  Half  Step,  the  smallest  interval 
employed  in  modern  music. 

30.  Step,  an  interval  containing  two 
half  steps. 

31.  Staff  Degrees,  lines  and  spaces 
of  the  staff. 

32.  Major  Third,  an  interval  em- 
bracing three  staff  degrees  and  con- 
taining four  half  steps. 

33.  Minor  Third,  an   interval  em- 
bracing three  staff  degrees  and  con- 
taining three  half  steps. 

34.  Scale,  a   succession   of    tones 
within  the  octave,  ascending  or  de- 
scending according  to  a  fixed  rale. 


202 


MUSIC  IN  THE  PUBLIC  SCHOOLS 


Scales 


(a)  The  Major  Scale,  a 

succession  of  five  steps  and 
two  half  steps  in  the  fol- 
lowing order :  1  to  2,  a 
step ;  2  to  3,  a  step ;  3  to 
4,  a  half  step ;  4  to  5,  a 
step  ;  5  to  6,  a  step ;  6  to 
7,  a  step  ;  7  to  8,  a  half 
step.  A  major  scale  is  a 
scale  whose  first  third  is 
a  major  third.  For  scale 
building  and  development 
of  signatures,  see  Glossary 
of  the  "Second  Music  Reader." 


8 

HALF  8TIF 

—7 — 

STEP 

6 — 

STEP 


STEP 

4 

HALF  STEP 
STEP 

— 2— 

STEP 
-1  


(6)  The  Chromatic  Scale,  twelve 
tones  within  the  octave,  ascending 
or  descending  in  regular  succession 
by  half  steps.  For  representation, 
see  Glossary  of  the  "  Third  Music 
Reader." 

(c)  The  Minor  Scale,  a  scale  whose 
first  third  is  a  minor  third.  For  the 
various  forms  of  the  minor  scale  see 
Glossary  of  the  "  Fourth  Mu*ic 
Reader." 


35.  Signatures  of  Keys,  Major  and  Minor : 


Key  of  C  Major 
or  A  Minor 


Key  of  G  Major 
or  E  Minor 


Key  of  D  Major 
or  B  Minor 


Key  of  A  Major 
or  FD  Minor 


Key  of  B  Major 
or  Gtt  Minor 


Key  of  E  Major 
or  CJi  Minor 


Key  of  FJf  Major 
or   1)$  Minor 


Key  of  CjJ  Major 
or  Ati    Minor 


GLOSSARY 


203 


2C& 

Kl) 

KM 

Key  of 
or  D 

F  Major 
Minor 

Key  of  Bb  Major 
or  G  Minor 

ED 

JJS    w 

Bl 

^^6^  — 

A.  b  K 

H 

Z3E 

<^- 

: 

«p*- 

Keyof 
or  C 

Eb  Major 
Minor 

Key  of  Ab  Major 
or  F  Minor 

535  u 

CS    u  . 

PJi.  17 

- 

f5J«   17  5 

EZEE 

C'b*1' 

Key  of  Db  Major 
or  Bb  Minor 


Key  of  Gb  Major 
or  Eb  Minor 


Key  of  Cb  Major 
or  Ab  Minor 


36.  Transition,  passing  suddenly 
out  of  one  key  into  another.  The  part 
of  the  signature  which  does  not  appear 
in  the  new  key  is  canceled  just  before 
the  heavy  bar  marking  the  close  of  the 
first  key,  thus : 


Transition  from  the  key  whose  signature 
is  four  flats  to  the  key  whose  signature  is 
one  flat. 

37.  Scale  Names,  One,  Two,  Three, 
Four,  Five,  Six,  Seven,  and  Eight,  — 
the  names  applied  to  the  successive 
tones  of  the  major  scale. 


38.  Intermediate  Tones,  #1,  JJ2,  #4, 
$5,  and  $6,  —  the  intermediate  tones 
which  may  be    introduced   into  the 
scale  ascending.    b7,  b6,  1?6,  b3,  and 
b2,  —  the    intermediate   tones  which 
may  be    introduced    into    the    scale 
descending. 

39.  Syllables,    commonly  sung  to 
the  successive  tones  of  the  scale :  1, 
do  ;  2,  re  ;  3,  mi ;  4,  fa ;  5,  sol ;  6,  la ; 

7,  ti  (or  si)  ;  8,  do.  Intermediate  syl- 
lables ascending,  ttl,  di ;  $2,  ri ;  $4,  fl ; 
$5,  si  (or  sil)  ;  $6,  li :  descending,  b7, 
te  (or  se)  ;  b6,  le  ;  b6,  se  (or  sel)  ;  b3, 
me  ;  b2,  ra. 


204 


MUSIC  IN  THE  PUBLIC  SCHOOLS 


40.  Scale  Degrees,   names    applied 
to  the  successive  degrees  of  the  scale, 
major  or  minor  :    1st  degree,  Tonic  ; 
2d  degree,    Supertonic ;    3d    degree, 
Mediant ;  4th  degree,  Subdominant ; 
6th  degree,    Dominant ;    6th   degree, 
Submediant ;  7th  degree,  Leading  tone 
or  Subtonic. 

41.  Chord,  the  simultaneous  sound- 
ing of  two  or  more  tones  of  different 
pitch. 

42.  Triad,  a  chord  consisting  of  a 
tone  with  its  third  and  fifth. 

43.  Principal  Triads,  the  tonic,  sub- 
dominant,  and  dominant  triads,  num- 
bered respectively  I,  IV,  and  V. 

44.  Measure  Signatures  : 

2  2  Two-quarter  measure  and 
4'  2  two-half  measure ;  i.e. 

two  quarter  notes  or  their  equivalent 
fill  the  measure  ;  two  half  notes  or 
their  equivalent  fill  the  measure. 

^  Barred    C,     used    inter- 

*P  changeably  for  two-half 

measure  and  four-half  measure. 


J 


8' 
4 


g  Three-eighth    measure, 

2  three-quarter     measure, 

and  three-half  measure. 

;,     ££         Four-quarter  measure. 

Six-eighth    measure    and 
six-quarter  measure. 

Nine-eighth  measure  and 
twelve-eighth  measure. 


45 .  Beat,  pulse ;  an  equal  division 
of  the  measure. 

46.  Rhythmic    Type,    time  values 
equal  to  a  beat.    When  the  quarter 
note  is  the  beat  unit,  the  rhythmic 
types  are : 


J     J     J 


(called  the  triplet). 


The  eighth  note,  the  half  note,  and 
sometimes  other  notes  are  used  as  the 
beat  unit. 

47.  Rhythmic  Figure,  combination 

of  rhythmic  types  ;  thus,    J  •        0 
is  a  rhythmic   figure    equal  to  two 
beats  when  the  quarter  note  is  the 
beat  unit.  Rhythm  varies  according  to 
the  rhythmic  types  included,  thus  : 

B-J     J     J 


and 


*J     AN 


differ 


in    rhythm   while    they   coincide    in 
measure. 

48.  Syncopation,  an  interruption  of 
the  natural  pulsation  of  the  music, 
bringing  the  accent  on  an   unusual 
part  of  the  measure. 

49.  Bass  ad  lib.,  literally,  "bass  at 
will,"  i.e.  the  bass  may  be  sung  or 
omitted  at  discretion,  the  bass  voice, 
in  such  case,  not  being  essential  to 
complete  harmonic  setting. 

50.  A,  B,  etc. ,  reference  letters  used 
for  convenience  in  referring  to  move- 
ments or  divisions  of  the  music. 


TERMS  AND   SIGNS  OF  EXPRESSION1 


Accelerando  (At-chA-lft-rSu'd  6),  acceler- 
ating. 

Adagio  (a-da'j6),  slow  ;  literally,  at 
leisure. 

Ad  libitum  (Sd  llbl-tum),  at  the  pleas- 
ure of  the  performer. 

Alia  burla  (al'la  boorla),  humorously. 

Alia  marcia  (al'la  mar'chia),  in  the 
manner  of  a  march. 

Allegretto  (al-lft-grftt'tft),  less  quick 
than  allegro ;  diminutive  of  allegro. 

Allegro  (al-li'gro"),  quick,  lively;  liter- 
ally, cheerful. 

Andante  (aii-dan'tft),  slow,  graceful ; 
moving  at  a  moderate  pace  ;  liter- 
ally, walking. 

Andantino  (an-dan-te'no"),  the  diminu- 
tive of  andante,  and  indicating  here 
quicker  tempo. 

Animate  (a-ne"-ma't6"),  animated. 

Appassionata  (ap-pas-se'-O-na'ta),  pas- 
sionate, with  emotion. 

Assai  (as-sa'e"),  very. 

A  tempo  (a  t6m'p6),  return  to  first  rate 
of  speed. 

Ben  marcato  (b8n  mar-ka'to"),  well 
marked. 

Brillante  (bre"l-lan't&),  brilliant,  spark- 
ling. 

Cantab ile  (kan-ta'be'-lft),  in  a  singing 
style,  or  very  legato. 

Colla  voce  (kSl'la  vO'chS),  with  the 
voice  ;  i.e.  taking  the  time  from  the 
singer. 

Commodo  (kSm'mi-dft)     )     .  , 

Comodo  (kO'mft-dft)  \  w 

Con  anima  (kon  a'n£-ma),  with  anima- 
tion. 

Con  brio  (kon  brfi'6),  with  vigor,  spirit, 
force. 

Con  espressione  (kQn  is-pris-s^-Q'ni), 
with  expression. 

Con  grazia  (kOn  gra'tse"-a),  with  grace. 

Con  moto  (k6n  mO't6),  with  spirited 
movement. 


Con  moto  di  barcarolla  (kOn  mO'tft  da 
bar'-kd-rO'ld),  with  the  movement  of 
a  boating  song. 

Con  moto  di  schottische  (k5n  uiO'tft  dd 
shSt'tfeh),  with  the  movement  of  a 
schottische. 

Con  spirito  (k5n  sp6'r^-t6),  with  spirit, 
energy. 

Con  tenerezza  (kon  tin-&-r&t'sa),  with 
tenderness. 

'     Crescendo    (krft-shin'dft), 
gradually  increasing  the  tone. 

~  Diminuendo     (de'-mS-noo"- 

4n'd6),  gradually  lessening  the  tone. 

Dolce  (doTchi),  sweet,  soft. 

E  (a),  and. 

Energico  (S-nar'j^-kft),  energetic,  forci- 
ble. 

Espressivo  (As-pris-se^vo"),  with  expres- 
sion. 

f,  forte  (fdr'ti),  loud. 

S,  fortissimo  (f  6r-te"s'se"-in6),  very  loud. 

fz,  forzando  (fOr-tsan'do"),  sharply 
emphasized. 

Giocoso  (j6"-k5's6),  humorous,  playful. 

Giojoso  (jfty-o'sft),  joyous. 

Giusto  (joos'ti),  in  just,  exact  time. 

Grandioso  (gran-de"-5's6),  grand,  sono- 
rous. 

Grazioso  (gra-tse"-o's6),  graceful,  ele- 
gant. 

II  melodia  (el  m^-15'dl-a),  the  melody. 

Larghetto  (Iar-g4t't6),  rather  slow; 
the  diminutive  of  largo,  slow,  or, 
literally,  large. 

Largo  (Iar'g6),  slow,  broad. 

Legato  (Ia-ga't6),  even,  continuous, 
flowing ;  literally,  tied. 

Leggiero  (Iid-je"-&'r6),  light. 

Lento  (Iftn'to"),  literally,  slow. 

Lusingando  (loo'z^n-gan'dft),  coaxing- 
ly,  persuasively. 

Ma  (ma),  but. 

Maestoso  (ma-6s-t6'z6),  with  dignity, 
majesty. 


1  Webster's  Dictionary  has  been  followed  for  diacritical  marking. 

205" 


206 


MUSIC  IN  THE  PUBLIC   SCHOOLS 


Marcato  (miir-ka'to),  distinct,  empha- 
sized ;  literally,  marked. 
Marcia  (mar'chia),  march. 
Marziale  (inar-tse'-a'la'),  martial,  in  the 

style  of  a  march. 
Heno  (mi'no),  less. 
Heno  mosso  (ma"n6  m5s's6),  less  speed, 

less  fast, 
mf,  mezzo  forte  (mecl'zft  for'ti),  half 

loud. 

Minuetto  (me'-noo-a't'tft),  a  minuet. 
Misterioso  (me"s-t&-re"-0's6) ,  mysterious . 
Moderate  (m6d-8-ra't6),  moderate. 
Molto  (mftl'tfc),  much,  very, 
mp,   mezzo  piano   (m6d'z6  pe"-a'n6), 

half  soft. 
Non   troppo    (nfm    trSp'po"),   not    too 

much. 

p,  piano  (pe"-a'n6),  soft. 
Pensieroso  (p8n-s8-e"-r5's6') ,  thoughtful, 

pensive. 

Piil  (p&'u),  a  little  more. 
Poco   piu   moto   (pC'ki  pe"u  m5't6), 

somewhat  faster. 
pp,  pianissimo  (pg'a-nls'st-mft),  very 

soft. 
Presto  (prgs'to"),  fast,  in  rapid  tempo; 

usually  one  beat  to  the  measure  ; 

literally,  quick. 
Rallentando  (ral-16n-tan'd6),  becoming 

slower ;  literally,  abating.  Abb.  rail. 


Religiose  (r4'l^-jO's6),  solemn,  de- 
vout. 

Rinf.,  rinforzando  (rln-for-tsan'dft), 
suddenly  emphasized  and  accented. 

Rispluto  (r6-z6-loo't6),  energetic,  de- 
cided. 

Ritardando  (re'tar-dan'dfe),  slower ; 
literally,  retarding.  Abb.  rit. 

Riten.,  ritenuto  (r6'tft-nu't6),  imme- 
diately slower. 

Scherzando  (sk6r-tsan'd6),  sportive, 
playful. 

Semplice  (s6m'pl^-ch4),  simple. 

Sempre  (sgm'prft),  always,  continu- 
ally. 

Sforzando  (sf6r-tsan'd6)  (>),  with 
special  emphasis. 

Solennelle  (s5-16nn61'),  solemn. 

Sostenuto  (s6s-tft-noo't6),  sustained. 

Spiritoso  (sp6-re"-t6's6),  spirited. 

Tanto  (tan' t5),  as  much,  so  much. 

Tempo  di  valse  (t6m'p6  de  val'sft),  in 
the  time  of  a  waltz. 

Tranquillamente(tran-kwe'l-la-ma'n'ti), 
calmly,  quietly. 

Tranquillo  (tran-kw6l'l6),  tranquil, 
quiet. 

Veloce  (v4-lo'ch4),  swiftly. 

Vivace  (ve"-va'cbi),  gay;  literally, 
lively. 

Vivo  (v6'v&),  animated. 


NOTES 


207 


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